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  string(11174) "The Silver Scream Spook Show is returning to the Plaza Theatre on Oct. 2 after a long pandemic break. At the helm as ever will be grand master Shane Morton, creator of the long-running horror pageant. The theme of the show will be based around the 1935 classic film Bride of Frankenstein, and the movie itself, the sequel to Frankenstein, will be shown after the live presentation.

A designer, artist, producer, writer, actor, musician, and director, Morton is the man behind the Silver Scream FX Lab, a special effects studio in Atlanta that creates all manner of props, masks, monsters, makeup, designs and other necessities for film, TV, and theater. The laboratory has created haunted attractions, such as Casa de Muerte (House of Death), for Six Flags Over Georgia’s Fright Fest and made floats for the Little Five Points Halloween Parade and the Atlanta Pride Parade. Morton has designed and fabricated interactive art installations all over the United States. His work can be seen in indie hits such as Bad Candy,” Sam & Mattie Make a Zombie Movie, and Mandy, starring Nicolas Cage and debuting the infamous Cheddar Goblin, a Morton creation that went viral. On Adult Swim’s hit show Your Pretty Face Is Going To Hell,” Morton was dubbed art director of Hell and headed the makeup department. Recently, The Suicide Squad used silicone fire safety masks for stunt doubles designed by Morton.

For the upcoming Silver Scream Spook Show, Morton says, “We’ve got some cool illusions and lots of seat-of-your-pants shenanigans that sometimes turn into accidents. People love to see us make mistakes.” Magic tricks and dance routines are indeed rehearsed, but Morton concedes that in the past criticism has been leveled at the show for its looseness and improvisational nature, “but to me that’s the strength of it,” he says. “It keeps things interesting and exciting, and it’s got a vitality I don’t think it would have if it was too rehearsed. It’s got this weird awesomeness to it — the same quality that an Ed Wood movie has.”

A proper wedding will take place during the show with a real minister officiating — Morton himself. “These two kids have been coming to the show since they were really young, and now they’re getting married, giving it [the show] a different angle and a little bit more heart because an actual love story is being played out on stage.”

Morton’s alter-ego, Professor Morte, will once again emcee the proceedings. He based his character on famous horror show figures of the past, such as TV host John Zacherle, actor Ernie Anderson’s fictional character Ghoulardi, and actor Glenn Strange, known for playing Frankenstein’s monster three times during the 1940s.

“I threw a bit of Sid and Marty Krofft in there with a big Witchiepoo nose,” Morton says, “but my favorite part of the Morte character is the stitches that come down his face that are all taken from Glenn Strange.” The Spook Show is in essence for kids, or at least the matinee is. The evening show tends to be a bit more blue, he warns, “but the real thing for me is the kids. It’s got to be funny and kind of spooky, and I keep it pretty light. We’ve had some really magical things happen, like autistic kids who bring us stop-motion LEGOs of Professor Morte.”

Morton first performed a version of the show on Coney Island in New York — where it was known as the Phantom Freak Theatre. It took off in Atlanta after Morton pitched Jonathan and Gayle Rej, who bought the Plaza Theatre in 2006, and they eventually took him up on the idea of doing live shows at the movie house.

Morton’s first job when he moved to Atlanta was creating airbrushed designs for clothing and sold comic books at T-Shirt Dragnet, an off-shoot of Wax ‘N’ Facts co-owned by Dan Beard and Harry DeMille. “That was my introduction to Atlanta — Little Five Points. The local music scene was so good back then, in 1989. I was in a band called Something that we put together with a bunch of SCAD students in Savannah. We moved to Atlanta to become rock stars.” Musicians such as Chris Mills and the band Dead Elvis formed part of the scene at the shop, Morton recalls.

Morton had what he calls a “truly magical childhood” on St. Simons Island after moving there from New York at age five. “St. Simons is a great place for a kid to grow up,” he recalls. “It’s haunted and weird, with oak trees and Spanish moss looming over everything. People think of it as a vacation spot, but I think of the spooky oak trees, creepy marshes and ghost stories.”

The classic movie King Kong (1933) made a big impression on Morton as a youngster, as did Tony Curtis’ role in Houdini (1953). His interest in magic was spurred by Alice Cooper, whose poster adorned Morton’s bedroom wall. “I always wanted to perform as a combination of rock star, magician, and comedian. I figured the Spook Show was the best way to pull it off,” he says. “It’s got a bit of a punk rock quality to it.”


Further inspiration came from Canadian conjuror James Randi (aka The Amazing Randi) and his box trunk illusions. “I had super cool parents and always said my childhood was like growing up in the Addams Family house. I had access to cool stuff like the Famous Monsters magazine. I got to see Ray Harryhausen movies. I was really lucky because there were always imaginative things going on in my house.”

Philip Morris, actor, costumer and author of How to Operate a Successful Haunted House, also influenced the young Morton. “He showed you a lot of tricks, like how to make glow-in-the-dark ghosts,” he says. “He was one of the top spook show guys back in the day.” Dr. Evil was the character Morris created and played onstage and as horror host on TV long before comedian Mike Myers appropriated the name for his Austin Powers nemesis. Morris became a cause célèbre when grainy footage emerged supposedly showing the creature known as Bigfoot stomping through snow while looking over his shoulder. “That’s a Philip Morris costume. Over the years we became friends until he passed away. We actually did a Silver Scream Spook Show with Dr. Evil and Professor Morte together on stage — one of the all-time highlights.”

Aiding and abetting Morton in the Spook Show, as well as in many other endeavors, is his longtime girlfriend and partner Madeline Brumby, a scream queen with a bunch of acting credits whom Morton refers to as Mad. A classically trained pianist, vocalist, and dancer, Brumby eschewed biology studies in favor of joining the world of horror entertainment. She and Morton met when both worked on an exploitation action-horror film titled Dear God No! that premiered in 2011 at the Plaza.

Together now for 11 years, Morton calls her “my better half” and “the real brains behind the outfit.” He continues, “She can make stuff happen. I can get people together and get ideas going, but as far as organizing things — without her it wouldn’t be anything.” The pair have since worked together on numerous other projects, such as Dracula: The Rock Opera, Atlanta Zombie Apocalypse, Spring Break Zombie Massacre, Frankenstein Created Bikers and the hit TV series Your Pretty Face Is Going to Hell.

When we spoke, Morton had just wrapped a music video project titled “Inside” in which Brumby gets dissected on camera yet again. During the shoot, a hapless bystander came upon the set just as Brumby, in the middle of a take, “started screaming and blood was flying everywhere, scaring the poor guy half to death,” Morton recalls fondly. The band in the video, Cement Scabies, is a new venture for Morton and features drummer Kellii Scott, from LA rockers Failure, and music teacher Laurie Segars Morrison, owner of the Main Street School of the Arts in Tucker. Morton also has a band called The Valkyrie that started out just for fun, he says, “but I got really sick of hearing about all these kids committing suicide for being bullied, so a lot of the songs are anti-bullying anthems. We might look like this silly transvestite Viking band, but some of the stuff we’re saying is pretty important.”

Currently, Morton is working on the second season of a show for Twitch, a live streaming platform for gamers. It’s called Clicksport-2 and features a galactic emperor played by The Walking Dead actor Dan Fogler, a frequent host of gaming tournaments. “I designed the characters and all the costumes,” says Morton. “They wanted me to do it because they saw my work in Your Pretty Face Is Going to Hell. The producers liked his “wacky style” and gave him total artistic freedom. “I don’t want to offend anybody, but I’d just gay this thing up. It looks like [1982 sci-fi thriller] Liquid Sky meets Ziggy Stardust meets the Power Rangers. These superheroes are all really flamboyant. I would switch gender roles around and make them the toughest characters. They let me go crazy!”

In lieu of this year’s now-cancelled Halloween parade in Little Five Points, Morton and his cohorts are throwing a monster hunt in the area in late October. The idea is to track down “monsters” stationed all over Little Five Points and take a selfie with them. Winners of the Monster Hunt will receive “a mini collectible art book” created by Morton, with his own original artwork, in the style of old iconic horror magazines such as Famous Monsters of Filmland, Creepy and its sister publication Eerie.


Morton recently returned from a four-month film shoot in Austria and already has plans for another horror movie to be filmed in Transylvania next May. The Romanian government has given the production company permission to shoot inside Bran Castle, said to closely fit Bram Stoker’s description of Dracula’s lair.

Other plans for Brumby and Morton include turning a newly purchased house near Stone Mountain that was built in 1840 into a combination workshop-studio-venue.

“In addition to making props and artwork there, we’re going to use it as an alternative venue for goth Victorian-type weddings, beautifully staged,” Brumby says. “Think of the graveyard scene in Interview with the Vampire — nicely stylized in that vein.”

In the Silver Scream Spook Show, Brumby plays a ghoul named Guna whom she calls “a cousin of the creature from the Black Lagoon.” She says the show “is something I’m probably the most proud of. We produce all of it by ourselves and it’s special to the community. Parents can bring their kids there and they can experience things together in a theater setting. I’m so looking forward to it!” —CL—

Continue reading the Cover Story here

SILVER SCREAM SPOOK SHOW presents The Bride of Frankenstein, Saturday, Oct. 2, at the Plaza Theatre, 1049 Ponce De Leon Avenue N.E. Matinee: doors 1 p.m., show at 1:30 p.m.. Night show: doors at 9:30 p.m., show at 10 p.m. SSSS is a 30 minute live stage show filled with magic tricks, dancing girls, jokes, spectacle and frights! Tickets available at the door:$12 adults, $8 children 12 and under. plazaatlanta.com"
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  string(11618) "The Silver Scream Spook Show is returning to the Plaza Theatre on Oct. 2 after a long pandemic break. At the helm as ever will be grand master Shane Morton, creator of the long-running horror pageant. The theme of the show will be based around the 1935 classic film ''Bride of Frankenstein'', and the movie itself, the sequel to ''Frankenstein'', will be shown after the live presentation.

A designer, artist, producer, writer, actor, musician, and director, Morton is the man behind the Silver Scream FX Lab, a special effects studio in Atlanta that creates all manner of props, masks, monsters, makeup, designs and other necessities for film, TV, and theater. The laboratory has created haunted attractions, such as Casa de Muerte (House of Death), for Six Flags Over Georgia’s Fright Fest and made floats for the Little Five Points Halloween Parade and the Atlanta Pride Parade. Morton has designed and fabricated interactive art installations all over the United States. His work can be seen in indie hits such as ''Bad Candy'',” ''Sam & Mattie Make a Zombie Movie'', and ''Mandy'', starring Nicolas Cage and debuting the infamous Cheddar Goblin, a Morton creation that went viral. On Adult Swim’s hit show ''Your Pretty Face Is Going To Hell'',” Morton was dubbed art director of Hell and headed the makeup department. Recently, ''The Suicide Squad'' used silicone fire safety masks for stunt doubles designed by Morton.

For the upcoming Silver Scream Spook Show, Morton says, “We’ve got some cool illusions and lots of seat-of-your-pants shenanigans that sometimes turn into accidents. People love to see us make mistakes.” Magic tricks and dance routines are indeed rehearsed, but Morton concedes that in the past criticism has been leveled at the show for its looseness and improvisational nature, “but to me that’s the strength of it,” he says. “It keeps things interesting and exciting, and it’s got a vitality I don’t think it would have if it was too rehearsed. It’s got this weird awesomeness to it — the same quality that an Ed Wood movie has.”

A proper wedding will take place during the show with a real minister officiating — Morton himself. “These two kids have been coming to the show since they were really young, and now they’re getting married, giving it [[the show] a different angle and a little bit more heart because an actual love story is being played out on stage.”

Morton’s alter-ego, Professor Morte, will once again emcee the proceedings. He based his character on famous horror show figures of the past, such as TV host John Zacherle, actor Ernie Anderson’s fictional character Ghoulardi, and actor Glenn Strange, known for playing Frankenstein’s monster three times during the 1940s.

“I threw a bit of Sid and Marty Krofft in there with a big Witchiepoo nose,” Morton says, “but my favorite part of the Morte character is the stitches that come down his face that are all taken from Glenn Strange.” The Spook Show is in essence for kids, or at least the matinee is. The evening show tends to be a bit more blue, he warns, “but the real thing for me is the kids. It’s got to be funny and kind of spooky, and I keep it pretty light. We’ve had some really magical things happen, like autistic kids who bring us stop-motion LEGOs of Professor Morte.”

Morton first performed a version of the show on Coney Island in New York — where it was known as the Phantom Freak Theatre. It took off in Atlanta after Morton pitched Jonathan and Gayle Rej, who bought the Plaza Theatre in 2006, and they eventually took him up on the idea of doing live shows at the movie house.

Morton’s first job when he moved to Atlanta was creating airbrushed designs for clothing and sold comic books at T-Shirt Dragnet, an off-shoot of Wax ‘N’ Facts co-owned by Dan Beard and Harry DeMille. “That was my introduction to Atlanta — Little Five Points. The local music scene was so good back then, in 1989. I was in a band called Something that we put together with a bunch of SCAD students in Savannah. We moved to Atlanta to become rock stars.” Musicians such as Chris Mills and the band Dead Elvis formed part of the scene at the shop, Morton recalls.

Morton had what he calls a “truly magical childhood” on St. Simons Island after moving there from New York at age five. “St. Simons is a great place for a kid to grow up,” he recalls. “It’s haunted and weird, with oak trees and Spanish moss looming over everything. People think of it as a vacation spot, but I think of the spooky oak trees, creepy marshes and ghost stories.”

The classic movie ''King Kong'' (1933) made a big impression on Morton as a youngster, as did Tony Curtis’ role in ''Houdini'' (1953). His interest in magic was spurred by Alice Cooper, whose poster adorned Morton’s bedroom wall. “I always wanted to perform as a combination of rock star, magician, and comedian. I figured the Spook Show was the best way to pull it off,” he says. “It’s got a bit of a punk rock quality to it.”

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Further inspiration came from Canadian conjuror James Randi (aka The Amazing Randi) and his box trunk illusions. “I had super cool parents and always said my childhood was like growing up in the ''Addams Family'' house. I had access to cool stuff like the ''Famous Monsters'' magazine. I got to see Ray Harryhausen movies. I was really lucky because there were always imaginative things going on in my house.”

Philip Morris, actor, costumer and author of ''How to Operate a Successful Haunted House'', also influenced the young Morton. “He showed you a lot of tricks, like how to make glow-in-the-dark ghosts,” he says. “He was one of the top spook show guys back in the day.” Dr. Evil was the character Morris created and played onstage and as horror host on TV long before comedian Mike Myers appropriated the name for his ''Austin Powers'' nemesis. Morris became a cause célèbre when grainy footage emerged supposedly showing the creature known as Bigfoot stomping through snow while looking over his shoulder. “That’s a Philip Morris costume. Over the years we became friends until he passed away. We actually did a Silver Scream Spook Show with Dr. Evil and Professor Morte together on stage — one of the all-time highlights.”

Aiding and abetting Morton in the Spook Show, as well as in many other endeavors, is his longtime girlfriend and partner Madeline Brumby, a scream queen with a bunch of acting credits whom Morton refers to as Mad. A classically trained pianist, vocalist, and dancer, Brumby eschewed biology studies in favor of joining the world of horror entertainment. She and Morton met when both worked on an exploitation action-horror film titled ''Dear God No!'' that premiered in 2011 at the Plaza.

Together now for 11 years, Morton calls her “my better half” and “the real brains behind the outfit.” He continues, “She can make stuff happen. I can get people together and get ideas going, but as far as organizing things — without her it wouldn’t be anything.” The pair have since worked together on numerous other projects, such as ''Dracula: The Rock Opera'', ''Atlanta Zombie Apocalypse'', ''Spring Break Zombie Massacre'', ''Frankenstein Created Bikers'' and the hit TV series ''Your Pretty Face Is Going to Hell''.

When we spoke, Morton had just wrapped a music video project titled “Inside” in which Brumby gets dissected on camera yet again. During the shoot, a hapless bystander came upon the set just as Brumby, in the middle of a take, “started screaming and blood was flying everywhere, scaring the poor guy half to death,” Morton recalls fondly. The band in the video, Cement Scabies, is a new venture for Morton and features drummer Kellii Scott, from LA rockers Failure, and music teacher Laurie Segars Morrison, owner of the Main Street School of the Arts in Tucker. Morton also has a band called The Valkyrie that started out just for fun, he says, “but I got really sick of hearing about all these kids committing suicide for being bullied, so a lot of the songs are anti-bullying anthems. We might look like this silly transvestite Viking band, but some of the stuff we’re saying is pretty important.”

Currently, Morton is working on the second season of a show for Twitch, a live streaming platform for gamers. It’s called ''Clicksport-2'' and features a galactic emperor played by ''The Walking Dead'' actor Dan Fogler, a frequent host of gaming tournaments. “I designed the characters and all the costumes,” says Morton. “They wanted me to do it because they saw my work in ''Your Pretty Face Is Going to Hell''. The producers liked his “wacky style” and gave him total artistic freedom. “I don’t want to offend anybody, but I’d just gay this thing up. It looks like [[1982 sci-fi thriller] ''Liquid Sky'' meets Ziggy Stardust meets the Power Rangers. These superheroes are all really flamboyant. I would switch gender roles around and make them the toughest characters. They let me go crazy!”

In lieu of this year’s now-cancelled Halloween parade in Little Five Points, Morton and his cohorts are throwing a monster hunt in the area in late October. The idea is to track down “monsters” stationed all over Little Five Points and take a selfie with them. Winners of the Monster Hunt will receive “a mini collectible art book” created by Morton, with his own original artwork, in the style of old iconic horror magazines such as ''Famous Monsters of Filmland'', ''Creepy'' and its sister publication ''Eerie''.

{DIV()}{img fileId="41274" stylebox="float: right; margin-left:25px;" desc="desc" width="400px" responsive="y"}{DIV}
Morton recently returned from a four-month film shoot in Austria and already has plans for another horror movie to be filmed in Transylvania next May. The Romanian government has given the production company permission to shoot inside Bran Castle, said to closely fit Bram Stoker’s description of Dracula’s lair.

Other plans for Brumby and Morton include turning a newly purchased house near Stone Mountain that was built in 1840 into a combination workshop-studio-venue.

“In addition to making props and artwork there, we’re going to use it as an alternative venue for goth Victorian-type weddings, beautifully staged,” Brumby says. “Think of the graveyard scene in ''Interview with the Vampire'' — nicely stylized in that vein.”

In the Silver Scream Spook Show, Brumby plays a ghoul named Guna whom she calls “a cousin of the creature from the Black Lagoon.” She says the show “is something I’m probably the most proud of. We produce all of it by ourselves and it’s special to the community. Parents can bring their kids there and they can experience things together in a theater setting. I’m so looking forward to it!” __—CL—__

__Continue reading the Cover Story ''[https://creativeloafing.com/content-494438-monsterama-and-spy-con-2-now-one-big|here]''__

''SILVER SCREAM SPOOK SHOW presents ''The Bride of Frankenstein'', Saturday, Oct. 2, at the Plaza Theatre, 1049 Ponce De Leon Avenue N.E. Matinee: doors 1 p.m., show at 1:30 p.m.. Night show: doors at 9:30 p.m., show at 10 p.m. SSSS is a 30 minute live stage show filled with magic tricks, dancing girls, jokes, spectacle and frights! Tickets available at the door:$12 adults, $8 children 12 and under. plazaatlanta.com''"
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  string(11644) " SSSM  2021-08-30T19:56:06+00:00 __SSSM.jpg      Perennial horror meisters hosting Silver Scream Spook Show once again SSSM   2021-09-01T14:00:00+00:00  Shane Morton and Madeline Brumby keep scaring people jim.harris Jim Harris Kevin C. Madigan kcmadigan (Kevin C. Madigan) 2021-09-01T14:00:00+00:00 The Silver Scream Spook Show is returning to the Plaza Theatre on Oct. 2 after a long pandemic break. At the helm as ever will be grand master Shane Morton, creator of the long-running horror pageant. The theme of the show will be based around the 1935 classic film Bride of Frankenstein, and the movie itself, the sequel to Frankenstein, will be shown after the live presentation.

A designer, artist, producer, writer, actor, musician, and director, Morton is the man behind the Silver Scream FX Lab, a special effects studio in Atlanta that creates all manner of props, masks, monsters, makeup, designs and other necessities for film, TV, and theater. The laboratory has created haunted attractions, such as Casa de Muerte (House of Death), for Six Flags Over Georgia’s Fright Fest and made floats for the Little Five Points Halloween Parade and the Atlanta Pride Parade. Morton has designed and fabricated interactive art installations all over the United States. His work can be seen in indie hits such as Bad Candy,” Sam & Mattie Make a Zombie Movie, and Mandy, starring Nicolas Cage and debuting the infamous Cheddar Goblin, a Morton creation that went viral. On Adult Swim’s hit show Your Pretty Face Is Going To Hell,” Morton was dubbed art director of Hell and headed the makeup department. Recently, The Suicide Squad used silicone fire safety masks for stunt doubles designed by Morton.

For the upcoming Silver Scream Spook Show, Morton says, “We’ve got some cool illusions and lots of seat-of-your-pants shenanigans that sometimes turn into accidents. People love to see us make mistakes.” Magic tricks and dance routines are indeed rehearsed, but Morton concedes that in the past criticism has been leveled at the show for its looseness and improvisational nature, “but to me that’s the strength of it,” he says. “It keeps things interesting and exciting, and it’s got a vitality I don’t think it would have if it was too rehearsed. It’s got this weird awesomeness to it — the same quality that an Ed Wood movie has.”

A proper wedding will take place during the show with a real minister officiating — Morton himself. “These two kids have been coming to the show since they were really young, and now they’re getting married, giving it [the show] a different angle and a little bit more heart because an actual love story is being played out on stage.”

Morton’s alter-ego, Professor Morte, will once again emcee the proceedings. He based his character on famous horror show figures of the past, such as TV host John Zacherle, actor Ernie Anderson’s fictional character Ghoulardi, and actor Glenn Strange, known for playing Frankenstein’s monster three times during the 1940s.

“I threw a bit of Sid and Marty Krofft in there with a big Witchiepoo nose,” Morton says, “but my favorite part of the Morte character is the stitches that come down his face that are all taken from Glenn Strange.” The Spook Show is in essence for kids, or at least the matinee is. The evening show tends to be a bit more blue, he warns, “but the real thing for me is the kids. It’s got to be funny and kind of spooky, and I keep it pretty light. We’ve had some really magical things happen, like autistic kids who bring us stop-motion LEGOs of Professor Morte.”

Morton first performed a version of the show on Coney Island in New York — where it was known as the Phantom Freak Theatre. It took off in Atlanta after Morton pitched Jonathan and Gayle Rej, who bought the Plaza Theatre in 2006, and they eventually took him up on the idea of doing live shows at the movie house.

Morton’s first job when he moved to Atlanta was creating airbrushed designs for clothing and sold comic books at T-Shirt Dragnet, an off-shoot of Wax ‘N’ Facts co-owned by Dan Beard and Harry DeMille. “That was my introduction to Atlanta — Little Five Points. The local music scene was so good back then, in 1989. I was in a band called Something that we put together with a bunch of SCAD students in Savannah. We moved to Atlanta to become rock stars.” Musicians such as Chris Mills and the band Dead Elvis formed part of the scene at the shop, Morton recalls.

Morton had what he calls a “truly magical childhood” on St. Simons Island after moving there from New York at age five. “St. Simons is a great place for a kid to grow up,” he recalls. “It’s haunted and weird, with oak trees and Spanish moss looming over everything. People think of it as a vacation spot, but I think of the spooky oak trees, creepy marshes and ghost stories.”

The classic movie King Kong (1933) made a big impression on Morton as a youngster, as did Tony Curtis’ role in Houdini (1953). His interest in magic was spurred by Alice Cooper, whose poster adorned Morton’s bedroom wall. “I always wanted to perform as a combination of rock star, magician, and comedian. I figured the Spook Show was the best way to pull it off,” he says. “It’s got a bit of a punk rock quality to it.”


Further inspiration came from Canadian conjuror James Randi (aka The Amazing Randi) and his box trunk illusions. “I had super cool parents and always said my childhood was like growing up in the Addams Family house. I had access to cool stuff like the Famous Monsters magazine. I got to see Ray Harryhausen movies. I was really lucky because there were always imaginative things going on in my house.”

Philip Morris, actor, costumer and author of How to Operate a Successful Haunted House, also influenced the young Morton. “He showed you a lot of tricks, like how to make glow-in-the-dark ghosts,” he says. “He was one of the top spook show guys back in the day.” Dr. Evil was the character Morris created and played onstage and as horror host on TV long before comedian Mike Myers appropriated the name for his Austin Powers nemesis. Morris became a cause célèbre when grainy footage emerged supposedly showing the creature known as Bigfoot stomping through snow while looking over his shoulder. “That’s a Philip Morris costume. Over the years we became friends until he passed away. We actually did a Silver Scream Spook Show with Dr. Evil and Professor Morte together on stage — one of the all-time highlights.”

Aiding and abetting Morton in the Spook Show, as well as in many other endeavors, is his longtime girlfriend and partner Madeline Brumby, a scream queen with a bunch of acting credits whom Morton refers to as Mad. A classically trained pianist, vocalist, and dancer, Brumby eschewed biology studies in favor of joining the world of horror entertainment. She and Morton met when both worked on an exploitation action-horror film titled Dear God No! that premiered in 2011 at the Plaza.

Together now for 11 years, Morton calls her “my better half” and “the real brains behind the outfit.” He continues, “She can make stuff happen. I can get people together and get ideas going, but as far as organizing things — without her it wouldn’t be anything.” The pair have since worked together on numerous other projects, such as Dracula: The Rock Opera, Atlanta Zombie Apocalypse, Spring Break Zombie Massacre, Frankenstein Created Bikers and the hit TV series Your Pretty Face Is Going to Hell.

When we spoke, Morton had just wrapped a music video project titled “Inside” in which Brumby gets dissected on camera yet again. During the shoot, a hapless bystander came upon the set just as Brumby, in the middle of a take, “started screaming and blood was flying everywhere, scaring the poor guy half to death,” Morton recalls fondly. The band in the video, Cement Scabies, is a new venture for Morton and features drummer Kellii Scott, from LA rockers Failure, and music teacher Laurie Segars Morrison, owner of the Main Street School of the Arts in Tucker. Morton also has a band called The Valkyrie that started out just for fun, he says, “but I got really sick of hearing about all these kids committing suicide for being bullied, so a lot of the songs are anti-bullying anthems. We might look like this silly transvestite Viking band, but some of the stuff we’re saying is pretty important.”

Currently, Morton is working on the second season of a show for Twitch, a live streaming platform for gamers. It’s called Clicksport-2 and features a galactic emperor played by The Walking Dead actor Dan Fogler, a frequent host of gaming tournaments. “I designed the characters and all the costumes,” says Morton. “They wanted me to do it because they saw my work in Your Pretty Face Is Going to Hell. The producers liked his “wacky style” and gave him total artistic freedom. “I don’t want to offend anybody, but I’d just gay this thing up. It looks like [1982 sci-fi thriller] Liquid Sky meets Ziggy Stardust meets the Power Rangers. These superheroes are all really flamboyant. I would switch gender roles around and make them the toughest characters. They let me go crazy!”

In lieu of this year’s now-cancelled Halloween parade in Little Five Points, Morton and his cohorts are throwing a monster hunt in the area in late October. The idea is to track down “monsters” stationed all over Little Five Points and take a selfie with them. Winners of the Monster Hunt will receive “a mini collectible art book” created by Morton, with his own original artwork, in the style of old iconic horror magazines such as Famous Monsters of Filmland, Creepy and its sister publication Eerie.


Morton recently returned from a four-month film shoot in Austria and already has plans for another horror movie to be filmed in Transylvania next May. The Romanian government has given the production company permission to shoot inside Bran Castle, said to closely fit Bram Stoker’s description of Dracula’s lair.

Other plans for Brumby and Morton include turning a newly purchased house near Stone Mountain that was built in 1840 into a combination workshop-studio-venue.

“In addition to making props and artwork there, we’re going to use it as an alternative venue for goth Victorian-type weddings, beautifully staged,” Brumby says. “Think of the graveyard scene in Interview with the Vampire — nicely stylized in that vein.”

In the Silver Scream Spook Show, Brumby plays a ghoul named Guna whom she calls “a cousin of the creature from the Black Lagoon.” She says the show “is something I’m probably the most proud of. We produce all of it by ourselves and it’s special to the community. Parents can bring their kids there and they can experience things together in a theater setting. I’m so looking forward to it!” —CL—

Continue reading the Cover Story here

SILVER SCREAM SPOOK SHOW presents The Bride of Frankenstein, Saturday, Oct. 2, at the Plaza Theatre, 1049 Ponce De Leon Avenue N.E. Matinee: doors 1 p.m., show at 1:30 p.m.. Night show: doors at 9:30 p.m., show at 10 p.m. SSSS is a 30 minute live stage show filled with magic tricks, dancing girls, jokes, spectacle and frights! Tickets available at the door:$12 adults, $8 children 12 and under. plazaatlanta.com    ASHLEY MEISSNER WHO KNOWS WHAT EVIL: Professor Morte, a/k/a Shane Morton.  0,0,10                           Shane Morton and Madeline Brumby keep scaring people "
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  string(2943) "The Monsterama and Spy Con conventions are being rolled into one major event this year at the Atlanta Marriott Alpharetta, Oct. 8-10. Organizer Anthony Taylor will be hosting actors Lana Wood, Caroline Munro, Elizabeth Shepherd, Trina Parks, Tiffany Grant, and author Dacre Stoker, among plenty of others.

Munro will be talking about her roles in Bond films and hammer horror movies as well as in The Golden Voyage of Sinbad and At The Earth’s Core. Elizabeth Shepherd, who played the lead role in The Tomb of Ligeia with Vincent Price, is joining in as the mascot for the Tomb of Monsterama, this year’s theme for the retro horror and sci-fi con.


There will be a Paul Naschy Film Festival hosted by Rodney Barnett of the Naschycast podcast. “Our Monster Prom is always popular,” Taylor adds, “and Valentine Wolfe is returning to do a concert.” Shane Morton and Madeline Brumby will be in attendance, selling artwork and presenting a Silver Scream Spook Show. The SSSS live performance will celebrate the 50th anniversary of Escape from the Planet of the Apes, which, of course, will be screened following Morton and Brumby’s live show. “You can expect a lot of humanoid apes running around, and some guy whose name I didn’t catch is going to be there with a giant ape costume causing trouble,” Morton says, undoubtedly referring to Spook Show performer and friendly giant, Jim Stacy.

Six separate programs will run all weekend long: main programming, Spy Con, maker, literary/art/comics, media and a new kaiju room for fans of giant Japanese monsters. There will be demonstrations for art, makeup and other creative pursuits. Film experts will share their analysis of great movies, and fans will revel in costume contests and panels celebrating all kinds of topics, according to Taylor, who added that  “espionage professionals” will also be on hand. In addition, classic genre films and television episodes will be screening all weekend long on 16mm film.

Panelists include author of books on the music of The Outer Limits and The Twilight Zone Dr. Reba Wissner, Syfy Channel’s Face Off winner Roy Wooley, kaiju and anime producer and distributor Matt Greenfield, a retired CIA administrator, celebrity chef Jim Stacy, and Famous Monsters of Filmland® magazine publisher Philip Kim.


Taylor says tickets for the whole weekend are available online and are currently only $45.00, but they will go up in October and be more expensive at the door. Single day admissions will be available at the door and on the website soon. “Our host hotel has lost their minds and given us the crazy rate of only $83.00 a night for up to four people per room.” —CL—

Monsterama: The Tomb of Monsterama and Spy Con 2, Atlanta Marriott Alpharetta, 5750 Windward Pkwy, Alpharetta, GA 30005. Fri-Sun., Oct. 8-10. Advance tickets start at $45. MonsteramaCon.com and Spy-Con.com plus facebook.com/Monsteramacon"
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Munro will be talking about her roles in Bond films and hammer horror movies as well as in ''The Golden Voyage of Sinbad'' and ''At The Earth’s Core''. Elizabeth Shepherd, who played the lead role in ''The Tomb of Ligeia'' with Vincent Price, is joining in as the mascot for the Tomb of Monsterama, this year’s theme for the retro horror and sci-fi con.

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There will be a Paul Naschy Film Festival hosted by Rodney Barnett of the Naschycast podcast. “Our Monster Prom is always popular,” Taylor adds, “and Valentine Wolfe is returning to do a concert.” Shane Morton and Madeline Brumby will be in attendance, selling artwork and presenting a Silver Scream Spook Show. The SSSS live performance will celebrate the 50th anniversary of ''Escape from the Planet of the Apes'', which, of course, will be screened following Morton and Brumby’s live show. “You can expect a lot of humanoid apes running around, and some guy whose name I didn’t catch is going to be there with a giant ape costume causing trouble,” Morton says, undoubtedly referring to Spook Show performer and friendly giant, Jim Stacy.

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Panelists include author of books on the music of ''The Outer Limits'' and ''The Twilight Zone'' Dr. Reba Wissner, Syfy Channel’s ''Face Off'' winner Roy Wooley, kaiju and anime producer and distributor Matt Greenfield, a retired CIA administrator, celebrity chef Jim Stacy, and ''Famous Monsters of Filmland®'' magazine publisher Philip Kim.

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Taylor says tickets for the whole weekend are available online and are currently only $45.00, but they will go up in October and be more expensive at the door. Single day admissions will be available at the door and on the website soon. “Our host hotel has lost their minds and given us the crazy rate of only $83.00 a night for up to four people per room.” __—CL—__

''Monsterama: The Tomb of Monsterama and Spy Con 2, Atlanta Marriott Alpharetta, 5750 Windward Pkwy, Alpharetta, GA 30005. Fri-Sun., Oct. 8-10. Advance tickets start at $45. MonsteramaCon.com and Spy-Con.com plus facebook.com/Monsteramacon''"
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Munro will be talking about her roles in Bond films and hammer horror movies as well as in The Golden Voyage of Sinbad and At The Earth’s Core. Elizabeth Shepherd, who played the lead role in The Tomb of Ligeia with Vincent Price, is joining in as the mascot for the Tomb of Monsterama, this year’s theme for the retro horror and sci-fi con.


There will be a Paul Naschy Film Festival hosted by Rodney Barnett of the Naschycast podcast. “Our Monster Prom is always popular,” Taylor adds, “and Valentine Wolfe is returning to do a concert.” Shane Morton and Madeline Brumby will be in attendance, selling artwork and presenting a Silver Scream Spook Show. The SSSS live performance will celebrate the 50th anniversary of Escape from the Planet of the Apes, which, of course, will be screened following Morton and Brumby’s live show. “You can expect a lot of humanoid apes running around, and some guy whose name I didn’t catch is going to be there with a giant ape costume causing trouble,” Morton says, undoubtedly referring to Spook Show performer and friendly giant, Jim Stacy.

Six separate programs will run all weekend long: main programming, Spy Con, maker, literary/art/comics, media and a new kaiju room for fans of giant Japanese monsters. There will be demonstrations for art, makeup and other creative pursuits. Film experts will share their analysis of great movies, and fans will revel in costume contests and panels celebrating all kinds of topics, according to Taylor, who added that  “espionage professionals” will also be on hand. In addition, classic genre films and television episodes will be screening all weekend long on 16mm film.

Panelists include author of books on the music of The Outer Limits and The Twilight Zone Dr. Reba Wissner, Syfy Channel’s Face Off winner Roy Wooley, kaiju and anime producer and distributor Matt Greenfield, a retired CIA administrator, celebrity chef Jim Stacy, and Famous Monsters of Filmland® magazine publisher Philip Kim.


Taylor says tickets for the whole weekend are available online and are currently only $45.00, but they will go up in October and be more expensive at the door. Single day admissions will be available at the door and on the website soon. “Our host hotel has lost their minds and given us the crazy rate of only $83.00 a night for up to four people per room.” —CL—

Monsterama: The Tomb of Monsterama and Spy Con 2, Atlanta Marriott Alpharetta, 5750 Windward Pkwy, Alpharetta, GA 30005. Fri-Sun., Oct. 8-10. Advance tickets start at $45. MonsteramaCon.com and Spy-Con.com plus facebook.com/Monsteramacon    GEEK BEHIND THE LENS FAMILY TRADITION: Vincent Price’s daughter Victoria greets a fan at a past Monsterama convention.  0,0,10                           Monsterama and Spy Con 2: now one big fest "
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  string(3445) "Forty-five years ago, when Wax N Facts first opened in Little Five Points, L5P really was five points, that is, a point where five streets converged with each other, just like Five Points in downtown Atlanta. Euclid and Moreland Avenues criss-crossed, and Seminole Avenue met them at the point.

In the ‘80s, as other business owners began to follow Danny Beard and Harry DeMille’s lead and open stores in the neighborhood, foot traffic became heavier, and Seminole Avenue was blocked off, with the street diverted into a parking lot, and Seminole Plaza established along what used to be Seminole Avenue. The adjacent Findley Plaza — named after John and Elizabeth Findley, who ran Findley’s Hardware Store in L5P from the 1930s to nearly 1980 — was also created to divert traffic and to lend a somewhat park-like atmosphere to the area.

Few remember that a mosaic of the itinerant Atlanta bluesman Blind Willie McTell was once located in Findley Plaza, surrounded by a black wrought iron fence. If you’ve ever wondered why that fence appears to surround an empty patch of ground for no reason, now you know.

Recently, the mosaic, which has been in storage for decades, was relocated and restored outside the Little Five Points Center for Arts and Community (L5PCAC), 1083 Austin Ave N.E. Jason Johnson, the original artist, who used to be a resident of L5P, was commissioned to return from to the neighborhood from his current home in Perugia, Italy, to oversee and complete the project.

Johnson has engaged in kintsugi, the ancient Japanese technique art of mosaic repair, whereby the work is mended with with lacquer dusted or mixed with powdered gold. According to a press release distributed by Kelly Stocks, a member of the Little Five Points Business Association, “Kintsugi advocates embracing the flawed or the imperfect, and sees breaks and repairs as part of the history of an object which adds value and is not something to be hidden.”

To fund the massive undertaking, engraved bricks are now being sold to be placed around the mosaic, in its new permanent home and place of honor.

August also marked an anniversary for the area formerly known as Seminole Plaza. It was 33 years ago Aug. 26, 1988, that Atlanta Police Department Officer Gregory L. Davis was shot and killed in Seminole Plaza while in the line of duty. Officer Davis stopped a man on a bicycle to question him about a series of nighttime burglaries in the Little 5 Points area. Davis did not realize the suspect was also wanted in the murder of a college student that occurred  three nights earlier in the plaza. The suspect pulled out a gun and shot Davis in the chest. Though fatally wounded, Davis managed to shoot and kill the suspect.

Not too long after, Davis’ memory, bravery, and friendship to the community was honored with Seminole Plaza being renamed Gregory L. Davis Plaza. It is the only public space named in honor of a fallen police officer in the City of Atlanta.

In 1988 police officers were not issued bullet proof vests. The shooting of Officer Davis brought the need for vests to the public’s eye. It also highlighted the need for the State to provide educational funding for fallen officers’ children. After the event 33 years ago, the Little 5 Points Business Association, together with the surrounding communities, raised money to purchase bulletproof vests for all Atlanta police officers. —CL—"
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{imagefloatright imageid="41380" wdthval="480px"}August also marked an anniversary for the area formerly known as Seminole Plaza. It was 33 years ago Aug. 26, 1988, that Atlanta Police Department Officer Gregory L. Davis was shot and killed in Seminole Plaza while in the line of duty. Officer Davis stopped a man on a bicycle to question him about a series of nighttime burglaries in the Little 5 Points area. Davis did not realize the suspect was also wanted in the murder of a college student that occurred  three nights earlier in the plaza. The suspect pulled out a gun and shot Davis in the chest. Though fatally wounded, Davis managed to shoot and kill the suspect.

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Recently, the mosaic, which has been in storage for decades, was relocated and restored outside the Little Five Points Center for Arts and Community (L5PCAC), 1083 Austin Ave N.E. Jason Johnson, the original artist, who used to be a resident of L5P, was commissioned to return from to the neighborhood from his current home in Perugia, Italy, to oversee and complete the project.

Johnson has engaged in kintsugi, the ancient Japanese technique art of mosaic repair, whereby the work is mended with with lacquer dusted or mixed with powdered gold. According to a press release distributed by Kelly Stocks, a member of the Little Five Points Business Association, “Kintsugi advocates embracing the flawed or the imperfect, and sees breaks and repairs as part of the history of an object which adds value and is not something to be hidden.”

To fund the massive undertaking, engraved bricks are now being sold to be placed around the mosaic, in its new permanent home and place of honor.

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  string(6357) "OK, most of the time, NextDoor is annoying AF. But every once in a while, it’s hilarious.

An Oakhurst woman described her bizarre experience at Target. “We saw a family in Edgewood Target this afternoon all with a variety of snakes wrapped around their necks. We stopped and stared at them for a bit because obviously they wanted attention. Is this normal? Were they comfort snakes? How odd.”

A different woman replied, “My fat ass read this as snacks.”

Another comment: “Excuse u, this is my emotional support snack necklace.”

Another comment: “There was a reptile show this weekend.”

The first Oakhurst woman replied, “OK, but do the reptiles need to go to Target afterward??!”

Perhaps the family with snakes around their necks was just implementing an extremely clever social-distancing trick. Just think, if everyone wore snakes around their necks, we’d have this pandemic wrapped up in no time flat.

RIDICULOUS RIDER

A 31-year-old man stole a horse near the Georgia-South Carolina border and tried to hide it in a bedroom — not his own bedroom, not even his own home — a bedroom in his dad’s house.

How did he got caught? A woman spotted the man riding the horse down the country lane and coaxing the horse into his dad’s home in Oconee County, SC.

The son wasn’t even supposed to be inside his father’s house (police already had a warrant out for the son’s arrest for other burglaries). The woman called the cops who notified the dad who raced home and met authorities there.

“The father opened the door of the home, and deputies saw horse feces in the living room,” according to WISTV’s police report. “A full-size Quarter Horse was found standing in the middle of a bedroom that [[[the son] was in.” A full-size Quarter Horse weighs up to 1,200 pounds.

A sheriff’s deputy wrote, “The horse appeared to be calm, and I continued following [[[the son] into the bathroom,” where the son was arrested.

Deputies contacted the horse’s owner who says his Quarter Horse is valued at $6,500 and his horse now has a red cut on a front leg that was not there before.

The 31-year-old son is charged with stealing livestock and faces other charges related to different burglaries and thefts.

ACTIVIST CAPER

Atlanta graffiti activists painted antifa-inspired Smurfs outside a controversial Confederate souvenir shop in Kennesaw.

“A brick wall atop the Wildman’s Civil War Surplus store was vandalized with what the alleged culprits described as ‘Antifa Smurfs’ that resemble the blue cartoon characters,” according to the Atlanta Journal-Constitution.

Apparently, the activists did their homework to successfully pull off this caper. About six months ago, the activists pretended to be Civil War buffs and befriended the 90-year-old owner of Wildman’s Civil War Surplus, a man named Dent “Wildman” Myers. The activists allegedly got Myers’ permission to redesign the Confederate store’s mural and logo, which features armed Confederate soldiers and the store’s name. But owner Myers didn’t know what design they would choose.

In addition to the blue Antifa Smurfs, the activists replaced the store’s name, Wildman’s Civil War Surplus, with the phrase “Respect Existence or Expect Resistance.”

The activist group Indecline, which targets racism and social injustices, is taking credit for the caper, calling it a “large-scale art installation.”

Wildman’s Civil War Surplus opened in 1971 and sells segregationist and Confederate memorabilia.

REALITY BITES

A Georgia surfing instructor says he’s “more than lucky” after a shark attacked him while he was teaching children.

Atsushi Yamada owns Hot Sushi’s Happy Surf Camp Aloha on Tybee Island. He was on his surfboard helping a student back to shore when a shark bit him on the leg, he tells WRCB. Yamada tried to stay calm  to not startle his young students. After paddling back to shore, he got a lifeguard to call an ambulance.

The shark — and its teeth — left three significant gashes on the instructor’s leg, requiring several stitches at a local hospital.

Yamada is “super duper thankful” that he was the only one in the water at the time of the attack. “It [[[could] have been much, much worse,” he posted on Facebook.

Yamada insists he has a renewed outlook on life since the shark attack. “I feel more alive,” he told WJCL-TV. “I feel like I want to do more.”

DUMBASS DRIVER

A FedEx driver was delivering a package to an apartment complex on Wilmington Island near Savannah. He drives  through a grassy area, backs up, hits one car, backs up again — and hits two trees and a utility pole.

A police officer arrives and asks the Fed-Ex Driver: Where’s your driver’s license?

The driver answered: It’s in my lunch box. Take a look.

So the cop opens the Fed-Ex driver’s lunchbox — which contained two empty bottles of Amsterdam vodka.

The driver was charged with DUI.

Special hat tip to a new “Friend of The Blotter” for that one!

CHECKS AND BALANCES

A new trend in Savannah has emerged in recent weeks. Several people who pay their utility bills via snail mail — and put their mailbox flag up to signal the postman for outgoing mail — have started noticing their payment checks disappearing from their mailboxes.

Apparently, suspects are whiting out the check-writers’ signatures and replacing them with their own names — you know, the real names of the criminal suspects. Then, the suspects increase check payment amounts to sums just under $2,000 and electronically deposit the checks into their own bank accounts. Stupidly, all the suspects’ names show up in databases as real people.

One Savannah mother inadvertently implicated her own son. The mother noticed a pile of mail sitting in her home, but all the mail was addressed to her neighbor. The mother did the kind thing and took the wayward mail to the female neighbor’s house. The neighbor thanked the mother and mentioned that her utility payment check was stolen from her mailbox recently. Turns out, the mother’s son allegedly was the culprit. —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news — and puts them into her own words."
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  string(6416) "OK, most of the time, NextDoor is annoying AF. But every once in a while, it’s hilarious.

An Oakhurst woman described her bizarre experience at Target. “We saw a family in Edgewood Target this afternoon all with a variety of snakes wrapped around their necks. We stopped and stared at them for a bit because obviously they wanted attention. Is this normal? Were they comfort snakes? How odd.”

A different woman replied, “My fat ass read this as snacks.”

Another comment: “Excuse u, this is my emotional support snack necklace.”

Another comment: “There was a reptile show this weekend.”

The first Oakhurst woman replied, “OK, but do the reptiles need to go to Target afterward??!”

Perhaps the family with snakes around their necks was just implementing an extremely clever social-distancing trick. Just think, if everyone wore snakes around their necks, we’d have this pandemic wrapped up in ''no time flat''.

__RIDICULOUS RIDER__

A 31-year-old man stole a horse near the Georgia-South Carolina border and tried to hide it in a bedroom — not his own bedroom, not even his ''own home'' — a bedroom in his dad’s house.

How did he got caught? A woman spotted the man riding the horse down the country lane and coaxing the horse into his dad’s home in Oconee County, SC.

The son wasn’t even supposed to ''be inside'' his father’s house (police already had a warrant out for the son’s arrest for other burglaries). The woman called the cops who notified the dad who raced home and met authorities there.

“The father opened the door of the home, and deputies saw horse feces in the living room,” according to WISTV’s police report. “A full-size Quarter Horse was found standing in the middle of a bedroom that [[[[the son] was in.” A full-size Quarter Horse weighs up to 1,200 pounds.

A sheriff’s deputy wrote, “The horse appeared to be calm, and I continued following [[[[the son] into the bathroom,” where the son was arrested.

Deputies contacted the horse’s owner who says his Quarter Horse is valued at $6,500 and his horse now has a red cut on a front leg that was not there before.

The 31-year-old son is charged with stealing livestock and faces other charges related to different burglaries and thefts.

__ACTIVIST CAPER__

Atlanta graffiti activists painted antifa-inspired Smurfs outside a controversial Confederate souvenir shop in Kennesaw.

“A brick wall atop the Wildman’s Civil War Surplus store was vandalized with what the alleged culprits described as ‘Antifa Smurfs’ that resemble the blue cartoon characters,” according to the ''Atlanta Journal-Constitution''.

Apparently, the activists did their homework to successfully pull off this caper. About six months ago, the activists pretended to be Civil War buffs and ''befriended'' the 90-year-old owner of Wildman’s Civil War Surplus, a man named Dent “Wildman” Myers. The activists allegedly got Myers’ ''permission'' to redesign the Confederate store’s mural and logo, which features armed Confederate soldiers and the store’s name. But owner Myers didn’t know what design they would choose.

In addition to the blue Antifa Smurfs, the activists replaced the store’s name, Wildman’s Civil War Surplus, with the phrase “Respect Existence or Expect Resistance.”

The activist group Indecline, which targets racism and social injustices, is taking credit for the caper, calling it a “large-scale art installation.”

Wildman’s Civil War Surplus opened in 1971 and sells segregationist and Confederate memorabilia.

__REALITY BITES__

A Georgia surfing instructor says he’s “more than lucky” after a shark attacked him while he was teaching children.

Atsushi Yamada owns Hot Sushi’s Happy Surf Camp Aloha on Tybee Island. He was on his surfboard helping a student back to shore when a shark bit him on the leg, he tells WRCB. Yamada tried to stay calm  to not startle his young students. After paddling back to shore, he got a lifeguard to call an ambulance.

The shark — and its teeth — left three significant gashes on the instructor’s leg, requiring several stitches at a local hospital.

Yamada is “super duper thankful” that he was the only one in the water at the time of the attack. “It [[[[could] have been much, much worse,” he posted on Facebook.

Yamada insists he has a renewed outlook on life since the shark attack. “I feel more alive,” he told WJCL-TV. “I feel like I want to do more.”

__DUMBASS DRIVER__

A FedEx driver was delivering a package to an apartment complex on Wilmington Island near Savannah. He drives  through a grassy area, backs up, hits one car, backs up again — and hits two trees and a utility pole.

A police officer arrives and asks the Fed-Ex Driver: Where’s your driver’s license?

The driver answered: It’s in my lunch box. Take a look.

So the cop opens the Fed-Ex driver’s lunchbox — which contained two empty bottles of Amsterdam vodka.

The driver was charged with DUI.

''Special hat tip to a new “Friend of The Blotter” for that one!''

__CHECKS AND BALANCES__

A new trend in Savannah has emerged in recent weeks. Several people who pay their utility bills via snail mail — and put their mailbox flag up to signal the postman for outgoing mail — have started noticing their payment checks disappearing from their mailboxes.

Apparently, suspects are whiting out the check-writers’ signatures and replacing them with their own names — you know, the real names of the criminal suspects. Then, the suspects increase check payment amounts to sums just under $2,000 and electronically deposit the checks into their own bank accounts. Stupidly, all the suspects’ names show up in databases as real people.

One Savannah mother inadvertently implicated her own son. The mother noticed a pile of mail sitting in her home, but all the mail was addressed to her neighbor. The mother did the kind thing and took the wayward mail to the female neighbor’s house. The neighbor thanked the mother and mentioned that her utility payment check was stolen from her mailbox recently. Turns out, the mother’s son allegedly was the culprit. __—CL—__

''The Blotter Diva compiles reports from the Atlanta Police Department and local news — and puts them into her own words.''"
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  string(6794) " SEP Blot Targetsnake Final Rev  2021-08-30T21:34:08+00:00 SEP_blot_targetsnake-final_rev.jpg      And other tales of life in the ATL SEP Blot Targetsnake Final Rev   2021-09-01T21:30:00+00:00  THE BLOTTER: Accessorizing with flair jim.harris Jim Harris LAUREN KEATING lauren.keating (Lauren Keating) 2021-09-01T21:30:00+00:00 OK, most of the time, NextDoor is annoying AF. But every once in a while, it’s hilarious.

An Oakhurst woman described her bizarre experience at Target. “We saw a family in Edgewood Target this afternoon all with a variety of snakes wrapped around their necks. We stopped and stared at them for a bit because obviously they wanted attention. Is this normal? Were they comfort snakes? How odd.”

A different woman replied, “My fat ass read this as snacks.”

Another comment: “Excuse u, this is my emotional support snack necklace.”

Another comment: “There was a reptile show this weekend.”

The first Oakhurst woman replied, “OK, but do the reptiles need to go to Target afterward??!”

Perhaps the family with snakes around their necks was just implementing an extremely clever social-distancing trick. Just think, if everyone wore snakes around their necks, we’d have this pandemic wrapped up in no time flat.

RIDICULOUS RIDER

A 31-year-old man stole a horse near the Georgia-South Carolina border and tried to hide it in a bedroom — not his own bedroom, not even his own home — a bedroom in his dad’s house.

How did he got caught? A woman spotted the man riding the horse down the country lane and coaxing the horse into his dad’s home in Oconee County, SC.

The son wasn’t even supposed to be inside his father’s house (police already had a warrant out for the son’s arrest for other burglaries). The woman called the cops who notified the dad who raced home and met authorities there.

“The father opened the door of the home, and deputies saw horse feces in the living room,” according to WISTV’s police report. “A full-size Quarter Horse was found standing in the middle of a bedroom that [[[the son] was in.” A full-size Quarter Horse weighs up to 1,200 pounds.

A sheriff’s deputy wrote, “The horse appeared to be calm, and I continued following [[[the son] into the bathroom,” where the son was arrested.

Deputies contacted the horse’s owner who says his Quarter Horse is valued at $6,500 and his horse now has a red cut on a front leg that was not there before.

The 31-year-old son is charged with stealing livestock and faces other charges related to different burglaries and thefts.

ACTIVIST CAPER

Atlanta graffiti activists painted antifa-inspired Smurfs outside a controversial Confederate souvenir shop in Kennesaw.

“A brick wall atop the Wildman’s Civil War Surplus store was vandalized with what the alleged culprits described as ‘Antifa Smurfs’ that resemble the blue cartoon characters,” according to the Atlanta Journal-Constitution.

Apparently, the activists did their homework to successfully pull off this caper. About six months ago, the activists pretended to be Civil War buffs and befriended the 90-year-old owner of Wildman’s Civil War Surplus, a man named Dent “Wildman” Myers. The activists allegedly got Myers’ permission to redesign the Confederate store’s mural and logo, which features armed Confederate soldiers and the store’s name. But owner Myers didn’t know what design they would choose.

In addition to the blue Antifa Smurfs, the activists replaced the store’s name, Wildman’s Civil War Surplus, with the phrase “Respect Existence or Expect Resistance.”

The activist group Indecline, which targets racism and social injustices, is taking credit for the caper, calling it a “large-scale art installation.”

Wildman’s Civil War Surplus opened in 1971 and sells segregationist and Confederate memorabilia.

REALITY BITES

A Georgia surfing instructor says he’s “more than lucky” after a shark attacked him while he was teaching children.

Atsushi Yamada owns Hot Sushi’s Happy Surf Camp Aloha on Tybee Island. He was on his surfboard helping a student back to shore when a shark bit him on the leg, he tells WRCB. Yamada tried to stay calm  to not startle his young students. After paddling back to shore, he got a lifeguard to call an ambulance.

The shark — and its teeth — left three significant gashes on the instructor’s leg, requiring several stitches at a local hospital.

Yamada is “super duper thankful” that he was the only one in the water at the time of the attack. “It [[[could] have been much, much worse,” he posted on Facebook.

Yamada insists he has a renewed outlook on life since the shark attack. “I feel more alive,” he told WJCL-TV. “I feel like I want to do more.”

DUMBASS DRIVER

A FedEx driver was delivering a package to an apartment complex on Wilmington Island near Savannah. He drives  through a grassy area, backs up, hits one car, backs up again — and hits two trees and a utility pole.

A police officer arrives and asks the Fed-Ex Driver: Where’s your driver’s license?

The driver answered: It’s in my lunch box. Take a look.

So the cop opens the Fed-Ex driver’s lunchbox — which contained two empty bottles of Amsterdam vodka.

The driver was charged with DUI.

Special hat tip to a new “Friend of The Blotter” for that one!

CHECKS AND BALANCES

A new trend in Savannah has emerged in recent weeks. Several people who pay their utility bills via snail mail — and put their mailbox flag up to signal the postman for outgoing mail — have started noticing their payment checks disappearing from their mailboxes.

Apparently, suspects are whiting out the check-writers’ signatures and replacing them with their own names — you know, the real names of the criminal suspects. Then, the suspects increase check payment amounts to sums just under $2,000 and electronically deposit the checks into their own bank accounts. Stupidly, all the suspects’ names show up in databases as real people.

One Savannah mother inadvertently implicated her own son. The mother noticed a pile of mail sitting in her home, but all the mail was addressed to her neighbor. The mother did the kind thing and took the wayward mail to the female neighbor’s house. The neighbor thanked the mother and mentioned that her utility payment check was stolen from her mailbox recently. Turns out, the mother’s son allegedly was the culprit. —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news — and puts them into her own words.    Illustration by Tray Butler   0,0,10                           THE BLOTTER: Accessorizing with flair "
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  string(1341) "FERNBANK CELEBRATES FIVE YEARS OF WILDWOODS: On September 24, Fernbank Museum of Natural History celebrates the fifth anniversary of its  WildWoods exhibit. With elevated walkways, interactive exhibits, and old-growth trees, guests are able to explore the wonders of a forest only a stone’s throw away from downtown Atlanta. Since first opening in 2016, WildWoods has drawn visitors from around the world, finding their way into this picturesque space. There is plenty to immerse yourself in on this nature expedition, suitable for all ages and fitness levels, including ADA-accessible trails and experiences. As well, special exhibitions are presented throughout the year, like “Habitat,” “Woodland Spirits’ and “Winter Wonderland.”

To celebrate this ten acres just beyond its walls, Fernbank will host a number of special activities Friday, Sept, 24, including self-led nature activities, Ranger Explorations, and, to the first 100 visitors, giveaways that will include a set of binoculars (one pair per family) and WildWoods trading cards containing facts on wildlife found out in the forest. All giveaways are limited and available only while supplies last. Get there early, take part in the festivities, and step into the wild!

Fernbank Museum, 3D Theater, Forest. 767 Clifton Road. 404-929-6300. fernbankmuseum.org"
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To celebrate this ten acres just beyond its walls, Fernbank will host a number of special activities Friday, Sept, 24, including self-led nature activities, Ranger Explorations, and, to the first 100 visitors, giveaways that will include a set of binoculars (one pair per family) and WildWoods trading cards containing facts on wildlife found out in the forest. All giveaways are limited and available only while supplies last. Get there early, take part in the festivities, and step into the wild!

''Fernbank Museum, 3D Theater, Forest. 767 Clifton Road. 404-929-6300. [https://fernbankmuseum.org/|fernbankmuseum.org]''"
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  string(1714) " + #3 FERN Wildwoods Kateparker Shoot2 014 Rgb  2021-09-01T21:48:15+00:00 +_#3_FERN_wildwoods_kateparker_shoot2_014_rgb.jpg       + #3 FERN Wildwoods Kateparker Shoot2 014 Rgb   2021-09-01T21:44:53+00:00  A world of wow jim.harris Jim Harris TONY PARIS tony.paris (Tony Paris) 2021-09-01T21:44:53+00:00 FERNBANK CELEBRATES FIVE YEARS OF WILDWOODS: On September 24, Fernbank Museum of Natural History celebrates the fifth anniversary of its  WildWoods exhibit. With elevated walkways, interactive exhibits, and old-growth trees, guests are able to explore the wonders of a forest only a stone’s throw away from downtown Atlanta. Since first opening in 2016, WildWoods has drawn visitors from around the world, finding their way into this picturesque space. There is plenty to immerse yourself in on this nature expedition, suitable for all ages and fitness levels, including ADA-accessible trails and experiences. As well, special exhibitions are presented throughout the year, like “Habitat,” “Woodland Spirits’ and “Winter Wonderland.”

To celebrate this ten acres just beyond its walls, Fernbank will host a number of special activities Friday, Sept, 24, including self-led nature activities, Ranger Explorations, and, to the first 100 visitors, giveaways that will include a set of binoculars (one pair per family) and WildWoods trading cards containing facts on wildlife found out in the forest. All giveaways are limited and available only while supplies last. Get there early, take part in the festivities, and step into the wild!

Fernbank Museum, 3D Theater, Forest. 767 Clifton Road. 404-929-6300. fernbankmuseum.org    Kate Parker   0,0,8                           A world of wow "
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  string(12120) "Rome Fortune is in a world of his own. At the Goat Farm Arts Center in West Midtown, the shirtless artist sits at a desk positioned near the corner of his personal studio, sporting a fluffy yellow bucket hat and dark blue denim. The modest-sized room is spacious enough to welcome friends, collaborators and guests, yet small enough to still feel intimate. There is a monitor, an assortment of speakers and other studio equipment atop his desk. The rest of the space is filled with eye-catching art installations and paintings from the likes of Markeidric Walker and Jair Salgado. Yet one of the most striking aspects about the entire scene is the yellow accent wall on the far side of the room.

It’s acutely reminiscent of the cover art for his self-titled, debut, studio album, which came coated in a deep dandelion hue. Released via indie powerhouse Fool’s Gold Records on Feb. 26, 2016, Jerome Raheem Fortune celebrates its five-year anniversary this year. And there’s no place more suitable than right here, the Atlanta artist’s vibrant creative space, to discuss his artistic journey over the past five years.

One of the first things that Fortune reveals is that he has recently experienced a full-fledged rebirth as an artist and as a human being. When looking at the rapper, it’s impossible to ignore how much he’s changed just in terms of his appearance. The huge, blue-dyed beard and blonde braids that he used to don are noticeably gone, leaving him with a new clean-cut look. Even the space that he currently occupies, which he has named Romey’s Homies, is another physical manifestation of his growth. Fortune has turned his Goat Farm hideout into an all-in-one studio, art gallery and communal space that’s designed to connect and uplift local creatives.

“I’m just trying to have a purpose bigger than me,” Fortune says. “Being an artist is a self-serving profession, so I’m trying to be more intentional. With this rebirth, I’m learning the game and the rules even more just to break them and show other artists that they can break them too.”

Yet, this rebirth that Fortune speaks of goes far beyond his decisions to shave off his iconic hair and beard combo and open a creative communal space. Fortune’s path to self-realization has consisted of hard-learned lessons, fresh starts and life-changing experiences. And unbeknownst to many, the early stages of his rebirth actually started five years ago with the release of his debut album.

After making noise in Atlanta and the world beyond with more lighthearted mixtapes like Beautiful Pimp, Beautiful Pimp II and Small VVorld, Fortune made the daring decision in 2016 to drop the most serious and personal work of his career. Although Jerome Raheem Fortune was presented in bright yellow packaging, Fortune’s bold, self-titled project was in no way, shape or form a joyful and festive I-made-it-type of record.

At the time, Fortune was an independent, 27-year-old, Atlanta artist, and the music was simply a reflection of his perspective. While there was an underlying sense of optimism coursing through the album’s tracks, Fortune’s, at times, harrowing and bleak subject matter added a significant weight to the record. Beyond all the artsy and experimental beats, Fortune’s self-titled debut was, at its core, an honest translation of his life onto wax.

On the first track, he proclaims, “I’ve got to take it all the way / Bloody and limping I’m getting it all,” and then immediately airs all his troubles for the world to stream. Despite the many personal accounts of struggle housed in that album’s 11 tracks — from missing his child’s first steps while on tour to questioning his sanity during an intense cocaine bender — Jerome Raheem Fortune concludes with a bruised, yet persevering, artist limping away as the dust clears. With the final track, Fortune convinces himself, as well as the listener, that he will soon find his way, regardless of the circumstances.

Little did Fortune know, his journey to find his way was just beginning. Upon its release, his debut received generally positive reviews from critics, but it didn’t achieve much commercial success. Seeing the early reactions from his fanbase, however, Fortune started to worry about his self-titled album’s performance.

“At first, I didn’t really care,” Fortune admits. “Then, when it didn’t do what I expected it to do, I was just like, ‘What?’ It frightened me because it got a good response critically, but not with people who had grown to know me up to that point. They was like, ‘Bro, what you doing?’”

“I feel like it was more so a misunderstanding of the vessel in which the music was coming from,” he continues. “If that was whoever and they heard the album, they’d be like, ‘Oh shit!’ But it’s like, ‘Rome Fortune, Beautiful Pimp — what you doing? You’re talking about you in your ma used to sleep in a hotel!’”

On one level, the mixed fan reception dealt a blow to Fortune’s confidence when it came to fully expressing himself in his music, and as a result, the ambitious artist descended into somewhat of an artistic identity crisis.

“That made me kind of want to stick to these social contracts of like, ‘Okay, I’m this type of Rome,’” he explains, “and that was part of getting the rebirth fully underway because I was like, ‘You people like this type of music from me? Alright, Imma drop a song like this.’ But honestly, I can’t duplicate anything I do because I’m not in that same space in life, mentally. So then I get confused, and you get confused, and it’s like — alright, stop. Just do what you want to do.”

On another level, Jerome Raheem Fortune was literally a sonic encapsulation of his life story. Artists are known to get sensitive about their work, but given that some albums are much more personal than others, criticism sometimes stings more than it probably should. Fortune attests to the mental turmoil that he experienced following the release of his debut.

“It really messes you up, especially when the music is so synonymous with who you are,” he says. “If it was just a persona that I created and that was its story, it wouldn’t really affect me. But this is really my life you talking about. That stuff fucks you up because if you have a certainty in yourself, the confidence stays, but you start questioning certain things within yourself. It’s people’s responsibility to know that the words that they say add weight, but it’s also the artist’s responsibility to expect it when we step into this.”

In addition to learning how to prevent criticism from negatively affecting his psyche, Fortune also says he had to get to a point where he could look back and take partial blame for his debut’s performance. Jerome Raheem Fortune was his only release on a label, and he confesses that his frustrations surrounding the album were originally directed at Fool’s Gold.

“It was a one-album deal, so they didn’t have so much skin in the game,” Fortune admits. “Granted, I will give them this, I’m an artist in the purest form. I will switch my shit up a million times. The track list will change, the vibe will change, everything will change. Originally, the project I was wanting to do with them was more like dance, groovy, club shit — their specialty.”

As fate would have it, Fortune was unable to force himself to create that type of album, and what he delivered in the end was an eclectic and avant-garde hip-hop record. As time has passed, Fortune accepts the situation for what it was, seeing it as a “real, real valuable learning experience.” But his rough label experience coupled with his dissatisfaction with the Jerome Raheem Fortune reception opened up wounds that weren’t quick to heal.

Rather than heading straight into recording a second album, Fortune saw himself back at square one — mainly because the album he thought could have been a GRAMMY-nominated debut and widely regarded work of art turned into something more akin to a placement exam. As Fortune puts it, having to start over again “was like going to school.” After being so heavily dependent on his business partnerships, the Atlanta artist started developing trust issues. It was only a matter of time before he rebuilt his team from the ground up as well.

Having taught himself the necessary skills — like how to engineer and how to market himself to music industry professionals — to keep his career going with minimal help from others, Fortune continued to have his fair share of highlights. In the years following his debut, he made noise in the underground scene with projects such as Toro Y Rome Vol. 1 with Toro y Moi in 2018 and FREEk at the top of 2020. But eventually, he hit a wall and felt it was time for a change.

“I got to a point last year where I needed to detach,” he says, “so I went to Jamaica for a month. Before I went, I had this long hair and a big beard, and I knew I needed to shave off that energy in order to have a physical reminder or representation of when this rebirth happened.”

While in Jamaica, Fortune collaborated virtually with Kody Nielson from Unknown Mortal Orchestra. The psychedelic rock drummer would send him material to which Fortune would add his ideas. The month-long Caribbean respite also rekindled Rome’s creative spark. He credits “having a different set of eyes” on him there as the latest source of his inspiration.

Returning to this city after the break, Fortune settled into his new space, Romey’s Homies. In an equally profound move, he also got to work building his new team. In light of his decision to be less shielded and secluded, he speaks of how crucial it is to do self-inventory and firmly understand what you need.

“I got crazy trust issues, and that’s an understatement,” Fortune explains. “But I do know I gotta relinquish that in order to move forward. I know I’m capable by myself, but just the presence of other people can do more for me because it’s like an unspoken accountability. If I’m letting people in this zone, that means I respect their opinion, so I’ve gotta be cool with hearing shit I don’t want to hear sometimes.”

Months later, the rebirth of Rome Fortune had run its course. Having licked his wounds, found himself a purpose bigger than his own ambitions, and rediscovered his voracious appetite for creating, he’s ready to formally signal the next stage in his journey, a second self-titled album. In the same year that his debut turns five years old, Rome confirms that he will be releasing his next LP titled Mr. Fortune on Oct. 13, his 33rd birthday.

In terms of what to expect, Rome teases that it will be a very musical, Gil Scott-Heron-inspired record that features vivid storytelling and diary-like bars. Judging from his description, it definitely sounds like Mr. Fortune will find Rome pouring his soul onto wax once more, meaning that another self-portrait from one of Atlanta’s most talented and experimental artists is fast approaching.

The half-decade since Jerome Raheem Fortune has seen Rome at his highest and at his lowest. Although he has emerged a newly realized person, the rapper admits that he still hasn’t figured it all out quite yet. On “Alone Tonight” from his first self-titled project, Rome sang, “I’m trying to find the time to find my sanity,” and even now, he confirms that he never did find the time to find it.

“I think that’s a part of it,” he says. “I think that — and just making sure I don’t go off the deep end — is a part of what makes my stuff cool. When everything is good, I don’t really make the best stuff. Even though a bunch of things are going good right now, life has been a tornado! And that’s why I’m confident in saying Mr. Fortune gon’ be the illest thing I’ve done.”

It appears that in the five critical years since Jerome Raheem Fortune, Mr. Fortune found his way after all. —CL—"
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  string(12289) "Rome Fortune is in a world of his own. At the Goat Farm Arts Center in West Midtown, the shirtless artist sits at a desk positioned near the corner of his personal studio, sporting a fluffy yellow bucket hat and dark blue denim. The modest-sized room is spacious enough to welcome friends, collaborators and guests, yet small enough to still feel intimate. There is a monitor, an assortment of speakers and other studio equipment atop his desk. The rest of the space is filled with eye-catching art installations and paintings from the likes of Markeidric Walker and Jair Salgado. Yet one of the most striking aspects about the entire scene is the yellow accent wall on the far side of the room.

It’s acutely reminiscent of the cover art for his self-titled, debut, studio album, which came coated in a deep dandelion hue. Released via indie powerhouse Fool’s Gold Records on Feb. 26, 2016, ''Jerome Raheem Fortune'' celebrates its five-year anniversary this year. And there’s no place more suitable than right here, the Atlanta artist’s vibrant creative space, to discuss his artistic journey over the past five years.

One of the first things that Fortune reveals is that he has recently experienced a full-fledged rebirth as an artist and as a human being. When looking at the rapper, it’s impossible to ignore how much he’s changed just in terms of his appearance. The huge, blue-dyed beard and blonde braids that he used to don are noticeably gone, leaving him with a new clean-cut look. Even the space that he currently occupies, which he has named Romey’s Homies, is another physical manifestation of his growth. Fortune has turned his Goat Farm hideout into an all-in-one studio, art gallery and communal space that’s designed to connect and uplift local creatives.

“I’m just trying to have a purpose bigger than me,” Fortune says. “Being an artist is a self-serving profession, so I’m trying to be more intentional. With this rebirth, I’m learning the game and the rules even more just to break them and show other artists that they can break them too.”

Yet, this rebirth that Fortune speaks of goes far beyond his decisions to shave off his iconic hair and beard combo and open a creative communal space. Fortune’s path to self-realization has consisted of hard-learned lessons, fresh starts and life-changing experiences. And unbeknownst to many, the early stages of his rebirth actually started five years ago with the release of his debut album.

After making noise in Atlanta and the world beyond with more lighthearted mixtapes like ''Beautiful Pimp'', ''Beautiful Pimp II'' and ''Small VVorld'', Fortune made the daring decision in 2016 to drop the most serious and personal work of his career. Although ''Jerome Raheem Fortune'' was presented in bright yellow packaging, Fortune’s bold, self-titled project was in no way, shape or form a joyful and festive I-made-it-type of record.
{imagefloatright imageid="41387" wdthval="500px"}
At the time, Fortune was an independent, 27-year-old, Atlanta artist, and the music was simply a reflection of his perspective. While there was an underlying sense of optimism coursing through the album’s tracks, Fortune’s, at times, harrowing and bleak subject matter added a significant weight to the record. Beyond all the artsy and experimental beats, Fortune’s self-titled debut was, at its core, an honest translation of his life onto wax.

On the first track, he proclaims, “I’ve got to take it all the way / Bloody and limping I’m getting it all,” and then immediately airs all his troubles for the world to stream. Despite the many personal accounts of struggle housed in that album’s 11 tracks — from missing his child’s first steps while on tour to questioning his sanity during an intense cocaine bender — ''Jerome Raheem Fortune'' concludes with a bruised, yet persevering, artist limping away as the dust clears. With the final track, Fortune convinces himself, as well as the listener, that he will soon find his way, regardless of the circumstances.

Little did Fortune know, his journey to find his way was just beginning. Upon its release, his debut received generally positive reviews from critics, but it didn’t achieve much commercial success. Seeing the early reactions from his fanbase, however, Fortune started to worry about his self-titled album’s performance.

“At first, I didn’t really care,” Fortune admits. “Then, when it didn’t do what I expected it to do, I was just like, ‘What?’ It frightened me because it got a good response critically, but not with people who had grown to know me up to that point. They was like, ‘Bro, what you doing?’”

“I feel like it was more so a misunderstanding of the vessel in which the music was coming from,” he continues. “If that was whoever and they heard the album, they’d be like, ‘Oh shit!’ But it’s like, ‘Rome Fortune, ''Beautiful Pimp'' — what you doing? You’re talking about you in your ma used to sleep in a hotel!’”

On one level, the mixed fan reception dealt a blow to Fortune’s confidence when it came to fully expressing himself in his music, and as a result, the ambitious artist descended into somewhat of an artistic identity crisis.

“That made me kind of want to stick to these social contracts of like, ‘Okay, I’m this type of Rome,’” he explains, “and that was part of getting the rebirth fully underway because I was like, ‘You people like this type of music from me? Alright, Imma drop a song like this.’ But honestly, I can’t duplicate anything I do because I’m not in that same space in life, mentally. So then I get confused, and you get confused, and it’s like — alright, stop. Just do what you want to do.”

On another level, ''Jerome Raheem Fortune'' was literally a sonic encapsulation of his life story. Artists are known to get sensitive about their work, but given that some albums are much more personal than others, criticism sometimes stings more than it probably should. Fortune attests to the mental turmoil that he experienced following the release of his debut.

“It really messes you up, especially when the music is so synonymous with who you are,” he says. “If it was just a persona that I created and that was its story, it wouldn’t really affect me. But this is really my life you talking about. That stuff fucks you up because if you have a certainty in yourself, the confidence stays, but you start questioning certain things within yourself. It’s people’s responsibility to know that the words that they say add weight, but it’s also the artist’s responsibility to expect it when we step into this.”

In addition to learning how to prevent criticism from negatively affecting his psyche, Fortune also says he had to get to a point where he could look back and take partial blame for his debut’s performance. ''Jerome Raheem Fortune'' was his only release on a label, and he confesses that his frustrations surrounding the album were originally directed at Fool’s Gold.

“It was a one-album deal, so they didn’t have so much skin in the game,” Fortune admits. “Granted, I will give them this, I’m an artist in the purest form. I will switch my shit up a million times. The track list will change, the vibe will change, everything will change. Originally, the project I was wanting to do with them was more like dance, groovy, club shit — their specialty.”

As fate would have it, Fortune was unable to force himself to create that type of album, and what he delivered in the end was an eclectic and avant-garde hip-hop record. As time has passed, Fortune accepts the situation for what it was, seeing it as a “real, real valuable learning experience.” But his rough label experience coupled with his dissatisfaction with the ''Jerome Raheem Fortune'' reception opened up wounds that weren’t quick to heal.

Rather than heading straight into recording a second album, Fortune saw himself back at square one — mainly because the album he thought could have been a GRAMMY-nominated debut and widely regarded work of art turned into something more akin to a placement exam. As Fortune puts it, having to start over again “was like going to school.” After being so heavily dependent on his business partnerships, the Atlanta artist started developing trust issues. It was only a matter of time before he rebuilt his team from the ground up as well.

Having taught himself the necessary skills — like how to engineer and how to market himself to music industry professionals — to keep his career going with minimal help from others, Fortune continued to have his fair share of highlights. In the years following his debut, he made noise in the underground scene with projects such as ''Toro Y Rome Vol. 1'' with Toro y Moi in 2018 and ''FREEk'' at the top of 2020. But eventually, he hit a wall and felt it was time for a change.

“I got to a point last year where I needed to detach,” he says, “so I went to Jamaica for a month. Before I went, I had this long hair and a big beard, and I knew I needed to shave off that energy in order to have a physical reminder or representation of when this rebirth happened.”

While in Jamaica, Fortune collaborated virtually with Kody Nielson from Unknown Mortal Orchestra. The psychedelic rock drummer would send him material to which Fortune would add his ideas. The month-long Caribbean respite also rekindled Rome’s creative spark. He credits “having a different set of eyes” on him there as the latest source of his inspiration.

Returning to this city after the break, Fortune settled into his new space, Romey’s Homies. In an equally profound move, he also got to work building his new team. In light of his decision to be less shielded and secluded, he speaks of how crucial it is to do self-inventory and firmly understand what you need.

“I got crazy trust issues, and that’s an understatement,” Fortune explains. “But I do know I gotta relinquish that in order to move forward. I know I’m capable by myself, but just the presence of other people can do more for me because it’s like an unspoken accountability. If I’m letting people in this zone, that means I respect their opinion, so I’ve gotta be cool with hearing shit I don’t want to hear sometimes.”
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Months later, the rebirth of Rome Fortune had run its course. Having licked his wounds, found himself a purpose bigger than his own ambitions, and rediscovered his voracious appetite for creating, he’s ready to formally signal the next stage in his journey, a second self-titled album. In the same year that his debut turns five years old, Rome confirms that he will be releasing his next LP titled ''Mr. Fortune'' on Oct. 13, his 33rd birthday.

In terms of what to expect, Rome teases that it will be a very musical, Gil Scott-Heron-inspired record that features vivid storytelling and diary-like bars. Judging from his description, it definitely sounds like ''Mr. Fortune'' will find Rome pouring his soul onto wax once more, meaning that another self-portrait from one of Atlanta’s most talented and experimental artists is fast approaching.

The half-decade since ''Jerome Raheem Fortune'' has seen Rome at his highest and at his lowest. Although he has emerged a newly realized person, the rapper admits that he still hasn’t figured it all out quite yet. On “Alone Tonight” from his first self-titled project, Rome sang, “I’m trying to find the time to find my sanity,” and even now, he confirms that he never did find the time to find it.

“I think that’s a part of it,” he says. “I think that — and just making sure I don’t go off the deep end — is a part of what makes my stuff cool. When everything is good, I don’t really make the best stuff. Even though a bunch of things are going good right now, life has been a tornado! And that’s why I’m confident in saying ''Mr. Fortune'' gon’ be the illest thing I’ve done.”

It appears that in the five critical years since ''Jerome Raheem Fortune'', Mr. Fortune found his way after all. __—CL—__"
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  string(12626) " Rome On Film 16 Web  2021-09-01T22:11:10+00:00 rome_on_film_16_web.jpg      Five years after his life-changing debut album, Rome Fortune looks inward once more. Rome On Film 16 Web   2021-09-01T21:57:51+00:00  ATL UNTRAPPED: The rebirth of Rome Fortune jim.harris Jim Harris JOSHUA ROBINSON joshfrob17 (Joshua Robinson) 2021-09-01T21:57:51+00:00 Rome Fortune is in a world of his own. At the Goat Farm Arts Center in West Midtown, the shirtless artist sits at a desk positioned near the corner of his personal studio, sporting a fluffy yellow bucket hat and dark blue denim. The modest-sized room is spacious enough to welcome friends, collaborators and guests, yet small enough to still feel intimate. There is a monitor, an assortment of speakers and other studio equipment atop his desk. The rest of the space is filled with eye-catching art installations and paintings from the likes of Markeidric Walker and Jair Salgado. Yet one of the most striking aspects about the entire scene is the yellow accent wall on the far side of the room.

It’s acutely reminiscent of the cover art for his self-titled, debut, studio album, which came coated in a deep dandelion hue. Released via indie powerhouse Fool’s Gold Records on Feb. 26, 2016, Jerome Raheem Fortune celebrates its five-year anniversary this year. And there’s no place more suitable than right here, the Atlanta artist’s vibrant creative space, to discuss his artistic journey over the past five years.

One of the first things that Fortune reveals is that he has recently experienced a full-fledged rebirth as an artist and as a human being. When looking at the rapper, it’s impossible to ignore how much he’s changed just in terms of his appearance. The huge, blue-dyed beard and blonde braids that he used to don are noticeably gone, leaving him with a new clean-cut look. Even the space that he currently occupies, which he has named Romey’s Homies, is another physical manifestation of his growth. Fortune has turned his Goat Farm hideout into an all-in-one studio, art gallery and communal space that’s designed to connect and uplift local creatives.

“I’m just trying to have a purpose bigger than me,” Fortune says. “Being an artist is a self-serving profession, so I’m trying to be more intentional. With this rebirth, I’m learning the game and the rules even more just to break them and show other artists that they can break them too.”

Yet, this rebirth that Fortune speaks of goes far beyond his decisions to shave off his iconic hair and beard combo and open a creative communal space. Fortune’s path to self-realization has consisted of hard-learned lessons, fresh starts and life-changing experiences. And unbeknownst to many, the early stages of his rebirth actually started five years ago with the release of his debut album.

After making noise in Atlanta and the world beyond with more lighthearted mixtapes like Beautiful Pimp, Beautiful Pimp II and Small VVorld, Fortune made the daring decision in 2016 to drop the most serious and personal work of his career. Although Jerome Raheem Fortune was presented in bright yellow packaging, Fortune’s bold, self-titled project was in no way, shape or form a joyful and festive I-made-it-type of record.

At the time, Fortune was an independent, 27-year-old, Atlanta artist, and the music was simply a reflection of his perspective. While there was an underlying sense of optimism coursing through the album’s tracks, Fortune’s, at times, harrowing and bleak subject matter added a significant weight to the record. Beyond all the artsy and experimental beats, Fortune’s self-titled debut was, at its core, an honest translation of his life onto wax.

On the first track, he proclaims, “I’ve got to take it all the way / Bloody and limping I’m getting it all,” and then immediately airs all his troubles for the world to stream. Despite the many personal accounts of struggle housed in that album’s 11 tracks — from missing his child’s first steps while on tour to questioning his sanity during an intense cocaine bender — Jerome Raheem Fortune concludes with a bruised, yet persevering, artist limping away as the dust clears. With the final track, Fortune convinces himself, as well as the listener, that he will soon find his way, regardless of the circumstances.

Little did Fortune know, his journey to find his way was just beginning. Upon its release, his debut received generally positive reviews from critics, but it didn’t achieve much commercial success. Seeing the early reactions from his fanbase, however, Fortune started to worry about his self-titled album’s performance.

“At first, I didn’t really care,” Fortune admits. “Then, when it didn’t do what I expected it to do, I was just like, ‘What?’ It frightened me because it got a good response critically, but not with people who had grown to know me up to that point. They was like, ‘Bro, what you doing?’”

“I feel like it was more so a misunderstanding of the vessel in which the music was coming from,” he continues. “If that was whoever and they heard the album, they’d be like, ‘Oh shit!’ But it’s like, ‘Rome Fortune, Beautiful Pimp — what you doing? You’re talking about you in your ma used to sleep in a hotel!’”

On one level, the mixed fan reception dealt a blow to Fortune’s confidence when it came to fully expressing himself in his music, and as a result, the ambitious artist descended into somewhat of an artistic identity crisis.

“That made me kind of want to stick to these social contracts of like, ‘Okay, I’m this type of Rome,’” he explains, “and that was part of getting the rebirth fully underway because I was like, ‘You people like this type of music from me? Alright, Imma drop a song like this.’ But honestly, I can’t duplicate anything I do because I’m not in that same space in life, mentally. So then I get confused, and you get confused, and it’s like — alright, stop. Just do what you want to do.”

On another level, Jerome Raheem Fortune was literally a sonic encapsulation of his life story. Artists are known to get sensitive about their work, but given that some albums are much more personal than others, criticism sometimes stings more than it probably should. Fortune attests to the mental turmoil that he experienced following the release of his debut.

“It really messes you up, especially when the music is so synonymous with who you are,” he says. “If it was just a persona that I created and that was its story, it wouldn’t really affect me. But this is really my life you talking about. That stuff fucks you up because if you have a certainty in yourself, the confidence stays, but you start questioning certain things within yourself. It’s people’s responsibility to know that the words that they say add weight, but it’s also the artist’s responsibility to expect it when we step into this.”

In addition to learning how to prevent criticism from negatively affecting his psyche, Fortune also says he had to get to a point where he could look back and take partial blame for his debut’s performance. Jerome Raheem Fortune was his only release on a label, and he confesses that his frustrations surrounding the album were originally directed at Fool’s Gold.

“It was a one-album deal, so they didn’t have so much skin in the game,” Fortune admits. “Granted, I will give them this, I’m an artist in the purest form. I will switch my shit up a million times. The track list will change, the vibe will change, everything will change. Originally, the project I was wanting to do with them was more like dance, groovy, club shit — their specialty.”

As fate would have it, Fortune was unable to force himself to create that type of album, and what he delivered in the end was an eclectic and avant-garde hip-hop record. As time has passed, Fortune accepts the situation for what it was, seeing it as a “real, real valuable learning experience.” But his rough label experience coupled with his dissatisfaction with the Jerome Raheem Fortune reception opened up wounds that weren’t quick to heal.

Rather than heading straight into recording a second album, Fortune saw himself back at square one — mainly because the album he thought could have been a GRAMMY-nominated debut and widely regarded work of art turned into something more akin to a placement exam. As Fortune puts it, having to start over again “was like going to school.” After being so heavily dependent on his business partnerships, the Atlanta artist started developing trust issues. It was only a matter of time before he rebuilt his team from the ground up as well.

Having taught himself the necessary skills — like how to engineer and how to market himself to music industry professionals — to keep his career going with minimal help from others, Fortune continued to have his fair share of highlights. In the years following his debut, he made noise in the underground scene with projects such as Toro Y Rome Vol. 1 with Toro y Moi in 2018 and FREEk at the top of 2020. But eventually, he hit a wall and felt it was time for a change.

“I got to a point last year where I needed to detach,” he says, “so I went to Jamaica for a month. Before I went, I had this long hair and a big beard, and I knew I needed to shave off that energy in order to have a physical reminder or representation of when this rebirth happened.”

While in Jamaica, Fortune collaborated virtually with Kody Nielson from Unknown Mortal Orchestra. The psychedelic rock drummer would send him material to which Fortune would add his ideas. The month-long Caribbean respite also rekindled Rome’s creative spark. He credits “having a different set of eyes” on him there as the latest source of his inspiration.

Returning to this city after the break, Fortune settled into his new space, Romey’s Homies. In an equally profound move, he also got to work building his new team. In light of his decision to be less shielded and secluded, he speaks of how crucial it is to do self-inventory and firmly understand what you need.

“I got crazy trust issues, and that’s an understatement,” Fortune explains. “But I do know I gotta relinquish that in order to move forward. I know I’m capable by myself, but just the presence of other people can do more for me because it’s like an unspoken accountability. If I’m letting people in this zone, that means I respect their opinion, so I’ve gotta be cool with hearing shit I don’t want to hear sometimes.”

Months later, the rebirth of Rome Fortune had run its course. Having licked his wounds, found himself a purpose bigger than his own ambitions, and rediscovered his voracious appetite for creating, he’s ready to formally signal the next stage in his journey, a second self-titled album. In the same year that his debut turns five years old, Rome confirms that he will be releasing his next LP titled Mr. Fortune on Oct. 13, his 33rd birthday.

In terms of what to expect, Rome teases that it will be a very musical, Gil Scott-Heron-inspired record that features vivid storytelling and diary-like bars. Judging from his description, it definitely sounds like Mr. Fortune will find Rome pouring his soul onto wax once more, meaning that another self-portrait from one of Atlanta’s most talented and experimental artists is fast approaching.

The half-decade since Jerome Raheem Fortune has seen Rome at his highest and at his lowest. Although he has emerged a newly realized person, the rapper admits that he still hasn’t figured it all out quite yet. On “Alone Tonight” from his first self-titled project, Rome sang, “I’m trying to find the time to find my sanity,” and even now, he confirms that he never did find the time to find it.

“I think that’s a part of it,” he says. “I think that — and just making sure I don’t go off the deep end — is a part of what makes my stuff cool. When everything is good, I don’t really make the best stuff. Even though a bunch of things are going good right now, life has been a tornado! And that’s why I’m confident in saying Mr. Fortune gon’ be the illest thing I’ve done.”

It appears that in the five critical years since Jerome Raheem Fortune, Mr. Fortune found his way after all. —CL—    Jarel Walker MR. FORTUNE: Rome is readying his next self-titled project.  0,0,10                           ATL UNTRAPPED: The rebirth of Rome Fortune "
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  string(13716) "It really shouldn’t be a big deal to have a concert dedicated to women playing the blues. After all, they have a storied history in the genre dating back to 1920.

That’s when Mamie Smith is credited with “Crazy Blues,” reportedly the first female blues recording. After she got her foot in the door, others such as Ma Rainey, Ida Cox, Lucille Bogan and of course Bessie Smith soon made their way through it. The list of famous, sometimes infamous, blues women is too long to list, but highlights include Big Mama Thornton, Nina Simone, Billie Holiday and Sister Rosetta Tharpe. In more contemporary roots music, there is Janis Joplin, Bonnie Raitt, Susan Tedeschi — you get the idea.

Even locally, the blues scene boasts plenty of talent with the late Beverly “Guitar” Watkins as one of Atlanta’s most prominent and gifted players. Others, such as Francine Reed and the city’s own Empress of the Blues, Sandra Hall, have kept the female fires stoked on the Atlanta blues map for decades. Still, having an entire evening featuring only local women not just fronting blues bands but also working as supporting musicians is something we, and virtually every other city, severely lacks.

At least that’s what George Klein, co-coordinator of the Atlanta Blues Society (ABS), felt back in early 2019. He composed a list of 20 women, all members of the Atlanta Blues Society, who played every instrument (except harmonica). “The initial concept was to highlight women who don’t get a lot of recognition because they’re in a band full of guys,” he told me. Klein also realized he wasn’t qualified to put together a concert of women in blues.

That’s when Diane Durrett entered the picture.

Klein knew she had her own band, toured extensively, and had enough contacts through various organizations to pull together a quality show. He also didn’t want to micromanage the project, so he provided the budget (ABS fronted the money) and turned her loose. “I’m happy that they contacted me because I really respect the ladies who are doing blues and roots here,” explains Durrett. “I wanted it [the show] to be where you could hear something about each player, not just the lead person — what they have been doing and what they have done in their career.”

The result, Women in Blues — the three-hour Sunday afternoon gig in June, 2019 — was a huge, sold-out success. Participants included obvious choices like Donna Hopkins, Hall and Durrett along with less known locals, such as Melissa Junebug, Kiana Gibson, Sandra Senn, Carly Gibson, Fuji Fujimoto, Tamara Nicolai and Kathie Holmes. Even Liz Melendez, who had taken a break from playing to go back to school, made an appearance. Everyone was ready for the concert in 2020 … before the pandemic took away that option.

Women in Blues is planned to return Oct. 15 of this year, not at Blind Willie’s as initially scheduled (thanks to the recent surge in COVID-19 cases), but at Tunes by the Tracks in the city of Stone Mountain. And, yes, Durrett will be back at the helm. It will be another diverse, three-hour extravaganza. “It’s all professional women,” she says. “The age range is 18 to seniors.” The venue is now outdoors due to pandemic precautions, and there is no admission charge.

Durrett wants to honor historic blues women, like Koko Taylor and Etta James, as well as “newcomers,” like Bonnie Raitt, with performers covering the classics. But she encourages the acts to include original material as well to keep the presentation fresh.

Many of the same names from 2019’s event will appear again, with Hall likely headlining. But, as of press time, the roster was still in flux. All the players Durrett invited to perform at the first event showed up “as long as they were available.” Since that late afternoon Sunday show was so well received, Durrett is expecting the same level of participation. Still, there is limited time and budget, so she has to make the final call. There aren’t rehearsals, but each act comes prepared with songs submitted in advance to prevent duplication.

Not surprisingly, things are slightly different in 2021 due to pandemic pressures, but Durrett is working on videotaping the event to save it for posterity, something that didn’t happen in 2019. The prospects of this being a biannual event instead of just once a year is also a possibility.

Those expecting a loose-knit jam or a backline with a variety of lead women should be aware that it’s a much more organized, and varied, gig. “I wanted to be able to showcase the other instruments that women play. We perform different songs, but it’s a structured event where people play with different groups. It’s not a jam,” Durrett says emphatically, “You’re gonna get a show!” —CL—

Women in Blues, presented by the Atlanta Blues Society and curated by Diane Durrett. Friday, Oct. 15, 7-9 p.m. Tunes by the Tracks, the municipal parking lot, Stone Mountain Village. Free.

!! UPCOMING
Less humid weather keeps September’s Atlanta-area blues shows hot.

!!Thurs., Sept. 2

N.A.S.H., Blind Willie’s — Nick Johnson’s stinging guitar leads this recently formed, local four-piece that is quickly garnering a following. Check out this talented group now and see what the excitement is all about.

!!Fri., Sept. 3

Gregg Allman’s Laid Back Legacy, Variety Playhouse — Orig-inal players from Allman’s legendary 1974 album and tour — Randall Bramblett, Tommy Talton and the rhythm section of Charlie Hayward and Bill Stewart — lead an 11-piece ensemble with horns through the songs from Allman’s first solo album along with a few Allman Brothers classics. This ensemble has been playing these tribute shows for a few years now, incorporating the brotherhood and spirit that made that album and subse-quent tour so special.

!!Sat., Sept. 4

Mississippi Invasion, The Garden Club at Wild Heaven West End — Delta bluesman Cedric Burnside headlines this diverse show that also features Cary Hudson’s rugged Americana and The Weeks’ energet-ic indie pop rock.

!!Sun., Sept. 5

JJ Grey & MOFRO, The Eastern — Grey and his ever-changing backup band MOFRO haven’t released an album in six years, but that won’t make any difference since his swampy soul music has remained consistent since his days playing Smith’s Olde Bar back in the early ’00s. The group has pushed closer to a more commercial sound over the years, yet Grey’s bluesy heart and gritty vocals have always kept the rootsy faith.

!!Sat., Sept. 11

Michelle Malone, Eddie’s Attic — “Moanin’” Malone needs no introduction to any blues or roots fan. She has been a constant presence on the Atlanta scene since the early ’90s. She’s back in her old stomping-ground venue for two shows that will surely include at least a few songs from an upcoming album along with plenty of favorites from her extensive catalog. 7 and 9 p.m.

!!Mon., Sept. 13

Son Little, City Winery — Three albums into his career, Son Lit-tle’s combination of blues, soul and a bit of hip-hop has been well enough received for him to get the nod as producer on a Mavis Staples EP. Mix Prince with Michael Kiwanuka, and you’re close to Little’s unique, some-what retro sound and sweet, soulful voice.

!!Thurs., Sept. 16

Eddie 9V, Cody Matlock, Eddie’s Attic — These two friends and Blind Willie’s mainstays hike out to Decatur where their soul blues ought to go down just fine in the more reserved confines of Eddie’s Attic. Both in their mid-20s, they are the most prominent local young blues players in town. Eddie’s recent Little Black Flies release has right-fully attained international acclaim. Catch them now at this intimate club before they move on to larger venues.

!!Thurs., Sept. 23

Todd Albright, Red Clay Music Foundry — Acoustic, delta-influenced, 12-string guitarist Albright makes a stop here before heading over to Thomson, Georgia’s Blind Willie McTell Music Fest. The Detroit native’s nimble, often frisky, finger-picking country is reminiscent of Jorma Kaukonen in its clarity, intensity and folk-blues approach. A recent release on Jack White’s Third Man label should provide him some much-deserved attention.

Charley Crockett, Variety Playhouse — Even heart surgery in 2019 couldn’t slow down roots singer-songwriter Charley Crockett who has released five albums in the past six years. Once a blues and soul man, Crockett has shifted to a pure honky-tonkin’ country singer, a transi-tion that has been more logical than it sounds. His 2020 Welcome to Hard Times release was one of the best indie country albums of the year.

Eric Clapton, Jimmie Vaughan, Gas South Arena — Slowhand has been in the headlines recently more for his anti-vax stance than any new music. His hand is definitely getting slower these days as he moves through his 70s, and health issues have unsurprisingly curtailed his tour-ing. He’s a living legend though, so tickets for other-than-nosebleed seats are exorbitantly priced. Even if his fire might be muted, his band is always filled with top-notch veterans, and this may be the last chance you get to catch him live. Perhaps if opener Vaughan shares the stage for a few songs, there may be some fireworks generated. But no guarantees.

!!Sat., Sept. 25

Blind Willie McTell Music Festival, Thomson, Georgia — Now in its 27th year, Georgia’s largest pure roots fest is lighter on blues lately with Americana acts, like this year’s North Mississippi Allstars, Son Volt and Joachim Cooder, as headliners. Still, the outdoor show is safer than most clubs where you would normally see these acts, and Thomson’s country comfort vibe is always congenial. See Blues & Beyond’s August feature for details.

Cracker, Eddie’s Attic — Back in the day — that being the early ’90s — it was impossible to turn on album rock radio and not hear at least one Cracker song like “Low” or “Euro Trash Girl” in rotation. That time has long passed though, and it has been eight years since the band led by David Lowery and Johnny Hickman has released new music. Regardless, they still tour — sometimes as a band and other times as a duo — sound-ing tough and tight with their tongue-in-cheek lyrics and bluesy rocking Americana, which still feels fresh if not quite as edgy as it used to.

!!Sun., Sept. 26

Women in Blues Festival — See feature above.

!!Tues., Sept. 28

Jorma Kaukonen, City Winery — Former Jefferson Airplane and off again/on again Hot Tuna guitarist, Kaukonen has been — and remains — one of the finest practitioners of pure country blues guitar. Ex-pect plenty of old-time blues covers, especially a few from the Rev. Gary Davis, one of Kaukonen’s biggest influences, along with similarly styled originals. If we’re lucky, he’ll give us a few minutes of his Airplane classic “Embryonic Journey.”

!!Thurs., Sept. 30

Bobby Rush, City Winery — There is no stopping the irrepress-ible 88-year-old Bobby Rush. The veteran bluesman is riding high on his acoustic, Grammy-winning Rawer Than Raw, so he may not bring the full contingent of backing band members and singers along. Regard-less, he’s a force of nature who has been blowing away audiences for six decades and shows no sign of slowing down. Pick up a copy of his newly published autobiography I Ain’t Studdin’ Ya: My American Blues Story while you’re there too.

!!Sat., Oct. 2

Amplify Decatur, Downtown Decatur Square — It’s impossible to fault a lineup as strong and diverse as one headlined by the Indigo Girls and supported by the rollicking Old 97’s, the searing gospel of The Blind Boys of Alabama, the gorgeous Everly Brothers-styled harmonies of The Cactus Blossoms, and local roots icon Michelle Malone. And it’s out-doors too, which makes this a safer way to get your roots and Americana fix on.

!!Sun., Oct. 3

EG Kight Trio, Eddie’s Attic — Nicknamed “The Georgia Song-bird,” Kight had to delay the release of her acoustic album The Trio Sessions, but it’s out now — and she’s touring behind it. The goat-loving singer-songwriter-guitarist was a close friend of Koko Taylor and has a voice nearly as powerful. She is an under-recognized, locally born and bred, veteran musician who never disappoints live. In her new “Feel-in’ a Healin’” Kight has written one of the year’s finest soul and blues pan-demic songs, a tune that looks forward to brighter days ahead.

!!Wed., Oct. 6

Sean McConnell, Eddie’s Attic — Singer-songwriter McConnell, a recording artist since 2000, spent time in Georgia before relocating to Nashville where he penned tunes for major acts like Brad Paisley and Tim McGraw and became a producer. His latest and 10th release, A Horrible Beautiful Dream, is one of his most powerful and emotionally af-fecting yet.

!!Fri.-Sat., Oct. 8-9

Wire and Wood Festival, Alpharetta, Georgia — Thirty artists, six stages and two days outdoors in the cooler early October weather — What’s not to like? And it’s free! Ruthie Foster and Drew Holcomb & the Neighbors top the bill for this singer-songwriter fest. However, at press time they were the only acts advertised. You may not recognize many names, but you never know which ones will become famous later. So chill out in low-key Alpharetta, appreciate the end of summer weather, and get acquainted with some new acts while enjoying the headliners. —CL—

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(13898) "It really shouldn’t be a big deal to have a concert dedicated to women playing the blues. After all, they have a storied history in the genre dating back to 1920.

That’s when Mamie Smith is credited with “Crazy Blues,” reportedly the first female blues recording. After she got her foot in the door, others such as Ma Rainey, Ida Cox, Lucille Bogan and of course Bessie Smith soon made their way through it. The list of famous, sometimes infamous, blues women is too long to list, but highlights include Big Mama Thornton, Nina Simone, Billie Holiday and Sister Rosetta Tharpe. In more contemporary roots music, there is Janis Joplin, Bonnie Raitt, Susan Tedeschi — you get the idea.

Even locally, the blues scene boasts plenty of talent with the late Beverly “Guitar” Watkins as one of Atlanta’s most prominent and gifted players. Others, such as Francine Reed and the city’s own Empress of the Blues, Sandra Hall, have kept the female fires stoked on the Atlanta blues map for decades. Still, having an entire evening featuring only local women not just fronting blues bands but also working as supporting musicians is something we, and virtually every other city, severely lacks.

At least that’s what George Klein, co-coordinator of the Atlanta Blues Society (ABS), felt back in early 2019. He composed a list of 20 women, all members of the Atlanta Blues Society, who played every instrument (except harmonica). “The initial concept was to highlight women who don’t get a lot of recognition because they’re in a band full of guys,” he told me. Klein also realized he wasn’t qualified to put together a concert of women in blues.

That’s when Diane Durrett entered the picture.

Klein knew she had her own band, toured extensively, and had enough contacts through various organizations to pull together a quality show. He also didn’t want to micromanage the project, so he provided the budget (ABS fronted the money) and turned her loose. “I’m happy that they contacted me because I really respect the ladies who are doing blues and roots here,” explains Durrett. “I wanted it [[the show] to be where you could hear something about each player, not just the lead person — what they have been doing and what they have done in their career.”

The result, Women in Blues — the three-hour Sunday afternoon gig in June, 2019 — was a huge, sold-out success. Participants included obvious choices like Donna Hopkins, Hall and Durrett along with less known locals, such as Melissa Junebug, Kiana Gibson, Sandra Senn, Carly Gibson, Fuji Fujimoto, Tamara Nicolai and Kathie Holmes. Even Liz Melendez, who had taken a break from playing to go back to school, made an appearance. Everyone was ready for the concert in 2020 … before the pandemic took away that option.

Women in Blues is planned to return Oct. 15 of this year, not at Blind Willie’s as initially scheduled (thanks to the recent surge in COVID-19 cases), but at Tunes by the Tracks in the city of Stone Mountain. And, yes, Durrett will be back at the helm. It will be another diverse, three-hour extravaganza. “It’s all professional women,” she says. “The age range is 18 to seniors.” The venue is now outdoors due to pandemic precautions, and there is no admission charge.

Durrett wants to honor historic blues women, like Koko Taylor and Etta James, as well as “newcomers,” like Bonnie Raitt, with performers covering the classics. But she encourages the acts to include original material as well to keep the presentation fresh.

Many of the same names from 2019’s event will appear again, with Hall likely headlining. But, as of press time, the roster was still in flux. All the players Durrett invited to perform at the first event showed up “as long as they were available.” Since that late afternoon Sunday show was so well received, Durrett is expecting the same level of participation. Still, there is limited time and budget, so she has to make the final call. There aren’t rehearsals, but each act comes prepared with songs submitted in advance to prevent duplication.

Not surprisingly, things are slightly different in 2021 due to pandemic pressures, but Durrett is working on videotaping the event to save it for posterity, something that didn’t happen in 2019. The prospects of this being a biannual event instead of just once a year is also a possibility.

Those expecting a loose-knit jam or a backline with a variety of lead women should be aware that it’s a much more organized, and varied, gig. “I wanted to be able to showcase the other instruments that women play. We perform different songs, but it’s a structured event where people play with different groups. It’s not a jam,” Durrett says emphatically, “You’re gonna get a show!” __—CL—__

''Women in Blues, presented by the Atlanta Blues Society and curated by Diane Durrett. Friday, Oct. 15, 7-9 p.m. Tunes by the Tracks, the municipal parking lot, Stone Mountain Village. Free.''

!! __UPCOMING__
Less humid weather keeps September’s Atlanta-area blues shows hot.

!!__Thurs., Sept. 2__

__N.A.S.H., Blind Willie’s —__ Nick Johnson’s stinging guitar leads this recently formed, local four-piece that is quickly garnering a following. Check out this talented group now and see what the excitement is all about.

!!__Fri., Sept. 3__

__Gregg Allman’s Laid Back Legacy, Variety Playhouse —__ Orig-inal players from Allman’s legendary 1974 album and tour — Randall Bramblett, Tommy Talton and the rhythm section of Charlie Hayward and Bill Stewart — lead an 11-piece ensemble with horns through the songs from Allman’s first solo album along with a few Allman Brothers classics. This ensemble has been playing these tribute shows for a few years now, incorporating the brotherhood and spirit that made that album and subse-quent tour so special.

!!__Sat., Sept. 4__

__Mississippi Invasion, The Garden Club at Wild Heaven West End —__ Delta bluesman Cedric Burnside headlines this diverse show that also features Cary Hudson’s rugged Americana and The Weeks’ energet-ic indie pop rock.

!!__Sun., Sept. 5__

__JJ Grey & MOFRO, The Eastern —__ Grey and his ever-changing backup band MOFRO haven’t released an album in six years, but that won’t make any difference since his swampy soul music has remained consistent since his days playing Smith’s Olde Bar back in the early ’00s. The group has pushed closer to a more commercial sound over the years, yet Grey’s bluesy heart and gritty vocals have always kept the rootsy faith.

!!__Sat., Sept. 11__

__Michelle Malone, Eddie’s Attic —__ “Moanin’” Malone needs no introduction to any blues or roots fan. She has been a constant presence on the Atlanta scene since the early ’90s. She’s back in her old stomping-ground venue for two shows that will surely include at least a few songs from an upcoming album along with plenty of favorites from her extensive catalog. 7 and 9 p.m.

!!__Mon., Sept. 13__

__Son Little, City Winery —__ Three albums into his career, Son Lit-tle’s combination of blues, soul and a bit of hip-hop has been well enough received for him to get the nod as producer on a Mavis Staples EP. Mix Prince with Michael Kiwanuka, and you’re close to Little’s unique, some-what retro sound and sweet, soulful voice.

!!__Thurs., Sept. 16__

__Eddie 9V, Cody Matlock, Eddie’s Attic —__ These two friends and Blind Willie’s mainstays hike out to Decatur where their soul blues ought to go down just fine in the more reserved confines of Eddie’s Attic. Both in their mid-20s, they are the most prominent local young blues players in town. Eddie’s recent ''Little Black Flies'' release has right-fully attained international acclaim. Catch them now at this intimate club before they move on to larger venues.

!!__Thurs., Sept. 23__

__Todd Albright, Red Clay Music Foundry —__ Acoustic, delta-influenced, 12-string guitarist Albright makes a stop here before heading over to Thomson, Georgia’s Blind Willie McTell Music Fest. The Detroit native’s nimble, often frisky, finger-picking country is reminiscent of Jorma Kaukonen in its clarity, intensity and folk-blues approach. A recent release on Jack White’s Third Man label should provide him some much-deserved attention.

__Charley Crockett, Variety Playhouse —__ Even heart surgery in 2019 couldn’t slow down roots singer-songwriter Charley Crockett who has released five albums in the past six years. Once a blues and soul man, Crockett has shifted to a pure honky-tonkin’ country singer, a transi-tion that has been more logical than it sounds. His 2020 ''Welcome to Hard Times'' release was one of the best indie country albums of the year.

__Eric Clapton, Jimmie Vaughan, Gas South Arena —__ Slowhand has been in the headlines recently more for his anti-vax stance than any new music. His hand is definitely getting slower these days as he moves through his 70s, and health issues have unsurprisingly curtailed his tour-ing. He’s a living legend though, so tickets for other-than-nosebleed seats are exorbitantly priced. Even if his fire might be muted, his band is always filled with top-notch veterans, and this may be the last chance you get to catch him live. Perhaps if opener Vaughan shares the stage for a few songs, there may be some fireworks generated. But no guarantees.

!!__Sat., Sept. 25__

__Blind Willie McTell Music Festival, Thomson, Georgia —__ Now in its 27th year, Georgia’s largest pure roots fest is lighter on blues lately with Americana acts, like this year’s North Mississippi Allstars, Son Volt and Joachim Cooder, as headliners. Still, the outdoor show is safer than most clubs where you would normally see these acts, and Thomson’s country comfort vibe is always congenial. See Blues & Beyond’s August feature for details.

__Cracker, Eddie’s Attic —__ Back in the day — that being the early ’90s — it was impossible to turn on album rock radio and not hear at least one Cracker song like “Low” or “Euro Trash Girl” in rotation. That time has long passed though, and it has been eight years since the band led by David Lowery and Johnny Hickman has released new music. Regardless, they still tour — sometimes as a band and other times as a duo — sound-ing tough and tight with their tongue-in-cheek lyrics and bluesy rocking Americana, which still feels fresh if not quite as edgy as it used to.

!!__Sun., Sept. 26__

__Women in Blues Festival —__ See feature above.

!!__Tues., Sept. 28__

__Jorma Kaukonen, City Winery —__ Former Jefferson Airplane and off again/on again Hot Tuna guitarist, Kaukonen has been — and remains — one of the finest practitioners of pure country blues guitar. Ex-pect plenty of old-time blues covers, especially a few from the Rev. Gary Davis, one of Kaukonen’s biggest influences, along with similarly styled originals. If we’re lucky, he’ll give us a few minutes of his Airplane classic “Embryonic Journey.”

!!__Thurs., Sept. 30__

__Bobby Rush, City Winery —__ There is no stopping the irrepress-ible 88-year-old Bobby Rush. The veteran bluesman is riding high on his acoustic, Grammy-winning ''Rawer Than Raw'', so he may not bring the full contingent of backing band members and singers along. Regard-less, he’s a force of nature who has been blowing away audiences for six decades and shows no sign of slowing down. Pick up a copy of his newly published autobiography ''I Ain’t Studdin’ Ya: My American Blues Story'' while you’re there too.

!!__Sat., Oct. 2__

__Amplify Decatur, Downtown Decatur Square —__ It’s impossible to fault a lineup as strong and diverse as one headlined by the Indigo Girls and supported by the rollicking Old 97’s, the searing gospel of The Blind Boys of Alabama, the gorgeous Everly Brothers-styled harmonies of The Cactus Blossoms, and local roots icon Michelle Malone. And it’s out-doors too, which makes this a safer way to get your roots and Americana fix on.

!!__Sun., Oct. 3__

__EG Kight Trio, Eddie’s Attic —__ Nicknamed “The Georgia Song-bird,” Kight had to delay the release of her acoustic album ''The Trio Sessions'', but it’s out now — and she’s touring behind it. The goat-loving singer-songwriter-guitarist was a close friend of Koko Taylor and has a voice nearly as powerful. She is an under-recognized, locally born and bred, veteran musician who never disappoints live. In her new “Feel-in’ a Healin’” Kight has written one of the year’s finest soul and blues pan-demic songs, a tune that looks forward to brighter days ahead.

!!__Wed., Oct. 6__

__Sean McConnell, Eddie’s Attic —__ Singer-songwriter McConnell, a recording artist since 2000, spent time in Georgia before relocating to Nashville where he penned tunes for major acts like Brad Paisley and Tim McGraw and became a producer. His latest and 10th release, ''A Horrible Beautiful Dream'', is one of his most powerful and emotionally af-fecting yet.

!!__Fri.-Sat., Oct. 8-9__

__Wire and Wood Festival, Alpharetta, Georgia —__ Thirty artists, six stages and two days outdoors in the cooler early October weather — What’s not to like? And it’s free! Ruthie Foster and Drew Holcomb & the Neighbors top the bill for this singer-songwriter fest. However, at press time they were the only acts advertised. You may not recognize many names, but you never know which ones will become famous later. So chill out in low-key Alpharetta, appreciate the end of summer weather, and get acquainted with some new acts while enjoying the headliners. __—CL—__

''Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(14282) " DianeDurrett011red Guitar Lifted Bill Thames Web  2021-09-01T22:30:08+00:00 DianeDurrett011red-guitar-lifted-_Bill_Thames_web.jpg      Diane Durrett returns to host the second Women in Blues show DianeDurrett011red Guitar Lifted Bill Thames Web   2021-09-01T22:25:07+00:00  BLUES & BEYOND: Blues women rule jim.harris Jim Harris HAL HOROWITZ hal2222 (Hal Horowitz) 2021-09-01T22:25:07+00:00 It really shouldn’t be a big deal to have a concert dedicated to women playing the blues. After all, they have a storied history in the genre dating back to 1920.

That’s when Mamie Smith is credited with “Crazy Blues,” reportedly the first female blues recording. After she got her foot in the door, others such as Ma Rainey, Ida Cox, Lucille Bogan and of course Bessie Smith soon made their way through it. The list of famous, sometimes infamous, blues women is too long to list, but highlights include Big Mama Thornton, Nina Simone, Billie Holiday and Sister Rosetta Tharpe. In more contemporary roots music, there is Janis Joplin, Bonnie Raitt, Susan Tedeschi — you get the idea.

Even locally, the blues scene boasts plenty of talent with the late Beverly “Guitar” Watkins as one of Atlanta’s most prominent and gifted players. Others, such as Francine Reed and the city’s own Empress of the Blues, Sandra Hall, have kept the female fires stoked on the Atlanta blues map for decades. Still, having an entire evening featuring only local women not just fronting blues bands but also working as supporting musicians is something we, and virtually every other city, severely lacks.

At least that’s what George Klein, co-coordinator of the Atlanta Blues Society (ABS), felt back in early 2019. He composed a list of 20 women, all members of the Atlanta Blues Society, who played every instrument (except harmonica). “The initial concept was to highlight women who don’t get a lot of recognition because they’re in a band full of guys,” he told me. Klein also realized he wasn’t qualified to put together a concert of women in blues.

That’s when Diane Durrett entered the picture.

Klein knew she had her own band, toured extensively, and had enough contacts through various organizations to pull together a quality show. He also didn’t want to micromanage the project, so he provided the budget (ABS fronted the money) and turned her loose. “I’m happy that they contacted me because I really respect the ladies who are doing blues and roots here,” explains Durrett. “I wanted it [the show] to be where you could hear something about each player, not just the lead person — what they have been doing and what they have done in their career.”

The result, Women in Blues — the three-hour Sunday afternoon gig in June, 2019 — was a huge, sold-out success. Participants included obvious choices like Donna Hopkins, Hall and Durrett along with less known locals, such as Melissa Junebug, Kiana Gibson, Sandra Senn, Carly Gibson, Fuji Fujimoto, Tamara Nicolai and Kathie Holmes. Even Liz Melendez, who had taken a break from playing to go back to school, made an appearance. Everyone was ready for the concert in 2020 … before the pandemic took away that option.

Women in Blues is planned to return Oct. 15 of this year, not at Blind Willie’s as initially scheduled (thanks to the recent surge in COVID-19 cases), but at Tunes by the Tracks in the city of Stone Mountain. And, yes, Durrett will be back at the helm. It will be another diverse, three-hour extravaganza. “It’s all professional women,” she says. “The age range is 18 to seniors.” The venue is now outdoors due to pandemic precautions, and there is no admission charge.

Durrett wants to honor historic blues women, like Koko Taylor and Etta James, as well as “newcomers,” like Bonnie Raitt, with performers covering the classics. But she encourages the acts to include original material as well to keep the presentation fresh.

Many of the same names from 2019’s event will appear again, with Hall likely headlining. But, as of press time, the roster was still in flux. All the players Durrett invited to perform at the first event showed up “as long as they were available.” Since that late afternoon Sunday show was so well received, Durrett is expecting the same level of participation. Still, there is limited time and budget, so she has to make the final call. There aren’t rehearsals, but each act comes prepared with songs submitted in advance to prevent duplication.

Not surprisingly, things are slightly different in 2021 due to pandemic pressures, but Durrett is working on videotaping the event to save it for posterity, something that didn’t happen in 2019. The prospects of this being a biannual event instead of just once a year is also a possibility.

Those expecting a loose-knit jam or a backline with a variety of lead women should be aware that it’s a much more organized, and varied, gig. “I wanted to be able to showcase the other instruments that women play. We perform different songs, but it’s a structured event where people play with different groups. It’s not a jam,” Durrett says emphatically, “You’re gonna get a show!” —CL—

Women in Blues, presented by the Atlanta Blues Society and curated by Diane Durrett. Friday, Oct. 15, 7-9 p.m. Tunes by the Tracks, the municipal parking lot, Stone Mountain Village. Free.

!! UPCOMING
Less humid weather keeps September’s Atlanta-area blues shows hot.

!!Thurs., Sept. 2

N.A.S.H., Blind Willie’s — Nick Johnson’s stinging guitar leads this recently formed, local four-piece that is quickly garnering a following. Check out this talented group now and see what the excitement is all about.

!!Fri., Sept. 3

Gregg Allman’s Laid Back Legacy, Variety Playhouse — Orig-inal players from Allman’s legendary 1974 album and tour — Randall Bramblett, Tommy Talton and the rhythm section of Charlie Hayward and Bill Stewart — lead an 11-piece ensemble with horns through the songs from Allman’s first solo album along with a few Allman Brothers classics. This ensemble has been playing these tribute shows for a few years now, incorporating the brotherhood and spirit that made that album and subse-quent tour so special.

!!Sat., Sept. 4

Mississippi Invasion, The Garden Club at Wild Heaven West End — Delta bluesman Cedric Burnside headlines this diverse show that also features Cary Hudson’s rugged Americana and The Weeks’ energet-ic indie pop rock.

!!Sun., Sept. 5

JJ Grey & MOFRO, The Eastern — Grey and his ever-changing backup band MOFRO haven’t released an album in six years, but that won’t make any difference since his swampy soul music has remained consistent since his days playing Smith’s Olde Bar back in the early ’00s. The group has pushed closer to a more commercial sound over the years, yet Grey’s bluesy heart and gritty vocals have always kept the rootsy faith.

!!Sat., Sept. 11

Michelle Malone, Eddie’s Attic — “Moanin’” Malone needs no introduction to any blues or roots fan. She has been a constant presence on the Atlanta scene since the early ’90s. She’s back in her old stomping-ground venue for two shows that will surely include at least a few songs from an upcoming album along with plenty of favorites from her extensive catalog. 7 and 9 p.m.

!!Mon., Sept. 13

Son Little, City Winery — Three albums into his career, Son Lit-tle’s combination of blues, soul and a bit of hip-hop has been well enough received for him to get the nod as producer on a Mavis Staples EP. Mix Prince with Michael Kiwanuka, and you’re close to Little’s unique, some-what retro sound and sweet, soulful voice.

!!Thurs., Sept. 16

Eddie 9V, Cody Matlock, Eddie’s Attic — These two friends and Blind Willie’s mainstays hike out to Decatur where their soul blues ought to go down just fine in the more reserved confines of Eddie’s Attic. Both in their mid-20s, they are the most prominent local young blues players in town. Eddie’s recent Little Black Flies release has right-fully attained international acclaim. Catch them now at this intimate club before they move on to larger venues.

!!Thurs., Sept. 23

Todd Albright, Red Clay Music Foundry — Acoustic, delta-influenced, 12-string guitarist Albright makes a stop here before heading over to Thomson, Georgia’s Blind Willie McTell Music Fest. The Detroit native’s nimble, often frisky, finger-picking country is reminiscent of Jorma Kaukonen in its clarity, intensity and folk-blues approach. A recent release on Jack White’s Third Man label should provide him some much-deserved attention.

Charley Crockett, Variety Playhouse — Even heart surgery in 2019 couldn’t slow down roots singer-songwriter Charley Crockett who has released five albums in the past six years. Once a blues and soul man, Crockett has shifted to a pure honky-tonkin’ country singer, a transi-tion that has been more logical than it sounds. His 2020 Welcome to Hard Times release was one of the best indie country albums of the year.

Eric Clapton, Jimmie Vaughan, Gas South Arena — Slowhand has been in the headlines recently more for his anti-vax stance than any new music. His hand is definitely getting slower these days as he moves through his 70s, and health issues have unsurprisingly curtailed his tour-ing. He’s a living legend though, so tickets for other-than-nosebleed seats are exorbitantly priced. Even if his fire might be muted, his band is always filled with top-notch veterans, and this may be the last chance you get to catch him live. Perhaps if opener Vaughan shares the stage for a few songs, there may be some fireworks generated. But no guarantees.

!!Sat., Sept. 25

Blind Willie McTell Music Festival, Thomson, Georgia — Now in its 27th year, Georgia’s largest pure roots fest is lighter on blues lately with Americana acts, like this year’s North Mississippi Allstars, Son Volt and Joachim Cooder, as headliners. Still, the outdoor show is safer than most clubs where you would normally see these acts, and Thomson’s country comfort vibe is always congenial. See Blues & Beyond’s August feature for details.

Cracker, Eddie’s Attic — Back in the day — that being the early ’90s — it was impossible to turn on album rock radio and not hear at least one Cracker song like “Low” or “Euro Trash Girl” in rotation. That time has long passed though, and it has been eight years since the band led by David Lowery and Johnny Hickman has released new music. Regardless, they still tour — sometimes as a band and other times as a duo — sound-ing tough and tight with their tongue-in-cheek lyrics and bluesy rocking Americana, which still feels fresh if not quite as edgy as it used to.

!!Sun., Sept. 26

Women in Blues Festival — See feature above.

!!Tues., Sept. 28

Jorma Kaukonen, City Winery — Former Jefferson Airplane and off again/on again Hot Tuna guitarist, Kaukonen has been — and remains — one of the finest practitioners of pure country blues guitar. Ex-pect plenty of old-time blues covers, especially a few from the Rev. Gary Davis, one of Kaukonen’s biggest influences, along with similarly styled originals. If we’re lucky, he’ll give us a few minutes of his Airplane classic “Embryonic Journey.”

!!Thurs., Sept. 30

Bobby Rush, City Winery — There is no stopping the irrepress-ible 88-year-old Bobby Rush. The veteran bluesman is riding high on his acoustic, Grammy-winning Rawer Than Raw, so he may not bring the full contingent of backing band members and singers along. Regard-less, he’s a force of nature who has been blowing away audiences for six decades and shows no sign of slowing down. Pick up a copy of his newly published autobiography I Ain’t Studdin’ Ya: My American Blues Story while you’re there too.

!!Sat., Oct. 2

Amplify Decatur, Downtown Decatur Square — It’s impossible to fault a lineup as strong and diverse as one headlined by the Indigo Girls and supported by the rollicking Old 97’s, the searing gospel of The Blind Boys of Alabama, the gorgeous Everly Brothers-styled harmonies of The Cactus Blossoms, and local roots icon Michelle Malone. And it’s out-doors too, which makes this a safer way to get your roots and Americana fix on.

!!Sun., Oct. 3

EG Kight Trio, Eddie’s Attic — Nicknamed “The Georgia Song-bird,” Kight had to delay the release of her acoustic album The Trio Sessions, but it’s out now — and she’s touring behind it. The goat-loving singer-songwriter-guitarist was a close friend of Koko Taylor and has a voice nearly as powerful. She is an under-recognized, locally born and bred, veteran musician who never disappoints live. In her new “Feel-in’ a Healin’” Kight has written one of the year’s finest soul and blues pan-demic songs, a tune that looks forward to brighter days ahead.

!!Wed., Oct. 6

Sean McConnell, Eddie’s Attic — Singer-songwriter McConnell, a recording artist since 2000, spent time in Georgia before relocating to Nashville where he penned tunes for major acts like Brad Paisley and Tim McGraw and became a producer. His latest and 10th release, A Horrible Beautiful Dream, is one of his most powerful and emotionally af-fecting yet.

!!Fri.-Sat., Oct. 8-9

Wire and Wood Festival, Alpharetta, Georgia — Thirty artists, six stages and two days outdoors in the cooler early October weather — What’s not to like? And it’s free! Ruthie Foster and Drew Holcomb & the Neighbors top the bill for this singer-songwriter fest. However, at press time they were the only acts advertised. You may not recognize many names, but you never know which ones will become famous later. So chill out in low-key Alpharetta, appreciate the end of summer weather, and get acquainted with some new acts while enjoying the headliners. —CL—

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.    BILL THAMES POUR SOME ‘SUGA’ ON IT: The multitalented Diane Durrett leads her Soul Suga band.  0,0,10                           BLUES & BEYOND: Blues women rule "
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  string(6115) "Deondray Gossett and Quincy LeNear were married by Queen Latifah at the 2014 GRAMMY Awards broadcast. Longtime creative and domestic partners, the pair created the TV series The DL Chronicles and other projects. In 2020 they moved to East Point, so it’s as local filmmakers that they’re debuting two shorts at this year’s Out on Film Festival.

The LGBTQ festival went online in 2020 (apart from one drive-in screening), but for its 34th year, it brings a robust program of more than 140 narrative and documentary shorts and features from around the world, with both in-person and virtual screenings from Sept. 23-Oct. 3.

Credited as Deondray Gossfield and Quincy LeNear Gossfield, the pair codirected “Smoke, Lilies and Jade” (Sept. 26), a 30-minute short set during the Harlem Renaissance narrated by “Pose”’s Billy Porter. Based on a short story by gay author Richard Bruce Nugent, the film depicts a young artist, (Xavier Avila) torn between his attraction for a woman and a man. While the settings don’t look much like 1926, the film has an ear for the literary discussions of the era while addressing desire and intersectionality.

For the Oct. 3 Drama Shorts program, the pair also directed “Flames,” which depicts an emotionally raw encounter between two young friends as their paths in life diverge. Taken together, the screenings suggest the Gossfields will be two local filmmakers to watch, especially regarding issues of race and sexuality.

Other Out on Film selections of local interest include the Georgia-filmed Landlocked (Oct. 3) about a man journeying to scatter his late mother’s ashes with his estranged, transgender father played by transgender actress Delia Kropp. Steven Norris, an Atlanta native and Georgia Tech grad, directed “Euromerica” (screening virtually), about American superfans of the Eurovision Song Contest, the most watched live music event in the world.

On Sep. 30, the festival’s annual Local Shorts program presents nine films from area filmmakers, including Lyrik London’s “Black Boi Majik,” Mya-Breyana Morton’s “The Traveler,” Patrick Seda’s “Reverend Falls” and Carmen LoBue’s “Pink and Blue.”

Out on Film opens Sept. 23 with the Southeastern premiere of Firebird, depicting a romantic triangle on a Soviet Air Force base during the Cold War. On Oct. 3, the closing night film is Keep the Cameras Rolling: The Pedro Zamora Way, about the AIDS activist and cast member of MTV’s “The Real World” in 1994.

The festival’s Centerpiece Screenings include Invisible: Gay Women in Southern Music (Sept. 25), No Straight Lines: The Rise of Queer Comics (Sept. 28) and the family drama Jump, Darling (Sept. 24), featuring the final performance of Cloris Leachman.

Out on Film. Sep. 23-Oct. 3. Landmark, Midtown Art Cinema Out Front Theatre Co. and virtual screenings. $11 for individual tickets and $150 for a full festival pass, which includes in-theater and virtual fare. outonfilm.org

Home Invasion, One: Released on Aug. 20, the haunted house thriller The Night House marks the latest step in the career of Atlanta filmmaker David Bruckner. Bruckner first drew national attention as one of three directors behind the 2007 sleeper hit The Signal. He debuted his eerie first feature, The Ritual, on Netflix in 2017.

Like many thoughtful horror films of the past decade, The Night House unfolds more like a character study than a fright fest. Rebecca Hall plays Beth, the widow of an architect who killed himself. As she rattles around the large lake house he designed, she detects signs of hauntings, like phantom whispers and mysterious footprints. Is it her husband’s ghost? Is she cracking up? Or is there something uncanny about the house itself?

Hall can seem like one of Hollywood’s least-utilized actors, but she relishes her role here, conveying how Beth’s grief comes out in sorrow and rage. When she lashes out at unsuspecting people, Hall can be more unnerving than the film’s supernatural elements.

As director, Bruckner oversees some excellent performances as well as some intriguing, unusual special effects. The film cleverly employs its unearthly visuals, including hidden profiles in the home fixtures, which at times evokes the mirrored images of M.C. Escher’s artwork. The puzzle box nature of The Night House’s story and set pieces suggest that Bruckner may excel at his next reported project, a reboot of the Hellraiser franchise.

Home Invasion, Two: The Atlanta-filmed thriller Karen shows a little too much awareness of its central conceit as a racist white woman named Karen torments her new black neighbors. “Wait, we have a white, entitled neighbor named Karen? This is like something out of ‘SNL!,’” Imani (Jasmine Burke) says to her husband Malik (Cory Hardrict).

Like the “Karen” meme expanded into a 1990s thriller, the film follows Karen Drexler (Taryn Manning of Orange is the New Black) as she pretends to be polite but demonstrates every maddening, race-baiting behavior one can imagine. The film’s first shot shows her mopping up sidewalk chalk that reads “Black Lives Matter.” She trains security cameras on her new neighbors and calls the cops on “suspicious” black pedestrians, while lying about their actions. And she enlists her brother, a violent police officer, to escalate her campaign against her neighbors.

Releasing in theaters and on demand on Sept. 3, Karen has an extremely low budget and production values with heavy-handed storytelling from writer-director Coke Daniels. Nevertheless, its themes of bigotry and police harassment can prove compelling even with cliched treatment, and Manning genuinely gives a live-wire performance in the title role. Manning’s Karen isn’t just predictably condescending. She brings a host of insecurities and hostile emotions to seemingly every encounter as well. With her, a casual chat about weekly garbage pick-up can turn into a minefield. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services."
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  string(6203) "Deondray Gossett and Quincy LeNear were married by Queen Latifah at the 2014 GRAMMY Awards broadcast. Longtime creative and domestic partners, the pair created the TV series ''The DL Chronicles'' and other projects. In 2020 they moved to East Point, so it’s as local filmmakers that they’re debuting two shorts at this year’s Out on Film Festival.

The LGBTQ festival went online in 2020 (apart from one drive-in screening), but for its 34th year, it brings a robust program of more than 140 narrative and documentary shorts and features from around the world, with both in-person and virtual screenings from Sept. 23-Oct. 3.

Credited as Deondray Gossfield and Quincy LeNear Gossfield, the pair codirected “Smoke, Lilies and Jade” (Sept. 26), a 30-minute short set during the Harlem Renaissance narrated by “Pose”’s Billy Porter. Based on a short story by gay author Richard Bruce Nugent, the film depicts a young artist, (Xavier Avila) torn between his attraction for a woman and a man. While the settings don’t look much like 1926, the film has an ear for the literary discussions of the era while addressing desire and intersectionality.

For the Oct. 3 Drama Shorts program, the pair also directed “Flames,” which depicts an emotionally raw encounter between two young friends as their paths in life diverge. Taken together, the screenings suggest the Gossfields will be two local filmmakers to watch, especially regarding issues of race and sexuality.

Other Out on Film selections of local interest include the Georgia-filmed ''Landlocked'' (Oct. 3) about a man journeying to scatter his late mother’s ashes with his estranged, transgender father played by transgender actress Delia Kropp. Steven Norris, an Atlanta native and Georgia Tech grad, directed “Euromerica” (screening virtually), about American superfans of the Eurovision Song Contest, the most watched live music event in the world.

On Sep. 30, the festival’s annual Local Shorts program presents nine films from area filmmakers, including Lyrik London’s “Black Boi Majik,” Mya-Breyana Morton’s “The Traveler,” Patrick Seda’s “Reverend Falls” and Carmen LoBue’s “Pink and Blue.”

Out on Film opens Sept. 23 with the Southeastern premiere of ''Firebird'', depicting a romantic triangle on a Soviet Air Force base during the Cold War. On Oct. 3, the closing night film is ''Keep the Cameras Rolling: The Pedro Zamora Way'', about the AIDS activist and cast member of MTV’s “The Real World” in 1994.

The festival’s Centerpiece Screenings include ''Invisible: Gay Women in Southern Music'' (Sept. 25), ''No Straight Lines: The Rise of Queer Comics'' (Sept. 28) and the family drama ''Jump, Darling'' (Sept. 24), featuring the final performance of Cloris Leachman.

__Out on Film. Sep. 23-Oct. 3. Landmark, Midtown Art Cinema__ ''Out Front Theatre Co. and virtual screenings. $11 for individual tickets and $150 for a full festival pass, which includes in-theater and virtual fare. outonfilm.org''

__Home Invasion, One:__ Released on Aug. 20, the haunted house thriller ''The Night House'' marks the latest step in the career of Atlanta filmmaker David Bruckner. Bruckner first drew national attention as one of three directors behind the 2007 sleeper hit ''The Signal''. He debuted his eerie first feature, ''The Ritual'', on Netflix in 2017.

Like many thoughtful horror films of the past decade, ''The Night House'' unfolds more like a character study than a fright fest. Rebecca Hall plays Beth, the widow of an architect who killed himself. As she rattles around the large lake house he designed, she detects signs of hauntings, like phantom whispers and mysterious footprints. Is it her husband’s ghost? Is she cracking up? Or is there something uncanny about the house itself?

Hall can seem like one of Hollywood’s least-utilized actors, but she relishes her role here, conveying how Beth’s grief comes out in sorrow and rage. When she lashes out at unsuspecting people, Hall can be more unnerving than the film’s supernatural elements.

As director, Bruckner oversees some excellent performances as well as some intriguing, unusual special effects. The film cleverly employs its unearthly visuals, including hidden profiles in the home fixtures, which at times evokes the mirrored images of M.C. Escher’s artwork. The puzzle box nature of ''The Night House''’s story and set pieces suggest that Bruckner may excel at his next reported project, a reboot of the ''Hellraiser'' franchise.

__Home Invasion, Two:__ The Atlanta-filmed thriller ''Karen'' shows a little too much awareness of its central conceit as a racist white woman named Karen torments her new black neighbors. “Wait, we have a white, entitled neighbor named Karen? This is like something out of ‘SNL!,’” Imani (Jasmine Burke) says to her husband Malik (Cory Hardrict).

Like the “Karen” meme expanded into a 1990s thriller, the film follows Karen Drexler (Taryn Manning of ''Orange is the New Black'') as she pretends to be polite but demonstrates every maddening, race-baiting behavior one can imagine. The film’s first shot shows her mopping up sidewalk chalk that reads “Black Lives Matter.” She trains security cameras on her new neighbors and calls the cops on “suspicious” black pedestrians, while lying about their actions. And she enlists her brother, a violent police officer, to escalate her campaign against her neighbors.

Releasing in theaters and on demand on Sept. 3, ''Karen'' has an extremely low budget and production values with heavy-handed storytelling from writer-director Coke Daniels. Nevertheless, its themes of bigotry and police harassment can prove compelling even with cliched treatment, and Manning genuinely gives a live-wire performance in the title role. Manning’s Karen isn’t just predictably condescending. She brings a host of insecurities and hostile emotions to seemingly every encounter as well. With her, a casual chat about weekly garbage pick-up can turn into a minefield. __—CL—__

''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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The LGBTQ festival went online in 2020 (apart from one drive-in screening), but for its 34th year, it brings a robust program of more than 140 narrative and documentary shorts and features from around the world, with both in-person and virtual screenings from Sept. 23-Oct. 3.

Credited as Deondray Gossfield and Quincy LeNear Gossfield, the pair codirected “Smoke, Lilies and Jade” (Sept. 26), a 30-minute short set during the Harlem Renaissance narrated by “Pose”’s Billy Porter. Based on a short story by gay author Richard Bruce Nugent, the film depicts a young artist, (Xavier Avila) torn between his attraction for a woman and a man. While the settings don’t look much like 1926, the film has an ear for the literary discussions of the era while addressing desire and intersectionality.

For the Oct. 3 Drama Shorts program, the pair also directed “Flames,” which depicts an emotionally raw encounter between two young friends as their paths in life diverge. Taken together, the screenings suggest the Gossfields will be two local filmmakers to watch, especially regarding issues of race and sexuality.

Other Out on Film selections of local interest include the Georgia-filmed Landlocked (Oct. 3) about a man journeying to scatter his late mother’s ashes with his estranged, transgender father played by transgender actress Delia Kropp. Steven Norris, an Atlanta native and Georgia Tech grad, directed “Euromerica” (screening virtually), about American superfans of the Eurovision Song Contest, the most watched live music event in the world.

On Sep. 30, the festival’s annual Local Shorts program presents nine films from area filmmakers, including Lyrik London’s “Black Boi Majik,” Mya-Breyana Morton’s “The Traveler,” Patrick Seda’s “Reverend Falls” and Carmen LoBue’s “Pink and Blue.”

Out on Film opens Sept. 23 with the Southeastern premiere of Firebird, depicting a romantic triangle on a Soviet Air Force base during the Cold War. On Oct. 3, the closing night film is Keep the Cameras Rolling: The Pedro Zamora Way, about the AIDS activist and cast member of MTV’s “The Real World” in 1994.

The festival’s Centerpiece Screenings include Invisible: Gay Women in Southern Music (Sept. 25), No Straight Lines: The Rise of Queer Comics (Sept. 28) and the family drama Jump, Darling (Sept. 24), featuring the final performance of Cloris Leachman.

Out on Film. Sep. 23-Oct. 3. Landmark, Midtown Art Cinema Out Front Theatre Co. and virtual screenings. $11 for individual tickets and $150 for a full festival pass, which includes in-theater and virtual fare. outonfilm.org

Home Invasion, One: Released on Aug. 20, the haunted house thriller The Night House marks the latest step in the career of Atlanta filmmaker David Bruckner. Bruckner first drew national attention as one of three directors behind the 2007 sleeper hit The Signal. He debuted his eerie first feature, The Ritual, on Netflix in 2017.

Like many thoughtful horror films of the past decade, The Night House unfolds more like a character study than a fright fest. Rebecca Hall plays Beth, the widow of an architect who killed himself. As she rattles around the large lake house he designed, she detects signs of hauntings, like phantom whispers and mysterious footprints. Is it her husband’s ghost? Is she cracking up? Or is there something uncanny about the house itself?

Hall can seem like one of Hollywood’s least-utilized actors, but she relishes her role here, conveying how Beth’s grief comes out in sorrow and rage. When she lashes out at unsuspecting people, Hall can be more unnerving than the film’s supernatural elements.

As director, Bruckner oversees some excellent performances as well as some intriguing, unusual special effects. The film cleverly employs its unearthly visuals, including hidden profiles in the home fixtures, which at times evokes the mirrored images of M.C. Escher’s artwork. The puzzle box nature of The Night House’s story and set pieces suggest that Bruckner may excel at his next reported project, a reboot of the Hellraiser franchise.

Home Invasion, Two: The Atlanta-filmed thriller Karen shows a little too much awareness of its central conceit as a racist white woman named Karen torments her new black neighbors. “Wait, we have a white, entitled neighbor named Karen? This is like something out of ‘SNL!,’” Imani (Jasmine Burke) says to her husband Malik (Cory Hardrict).

Like the “Karen” meme expanded into a 1990s thriller, the film follows Karen Drexler (Taryn Manning of Orange is the New Black) as she pretends to be polite but demonstrates every maddening, race-baiting behavior one can imagine. The film’s first shot shows her mopping up sidewalk chalk that reads “Black Lives Matter.” She trains security cameras on her new neighbors and calls the cops on “suspicious” black pedestrians, while lying about their actions. And she enlists her brother, a violent police officer, to escalate her campaign against her neighbors.

Releasing in theaters and on demand on Sept. 3, Karen has an extremely low budget and production values with heavy-handed storytelling from writer-director Coke Daniels. Nevertheless, its themes of bigotry and police harassment can prove compelling even with cliched treatment, and Manning genuinely gives a live-wire performance in the title role. Manning’s Karen isn’t just predictably condescending. She brings a host of insecurities and hostile emotions to seemingly every encounter as well. With her, a casual chat about weekly garbage pick-up can turn into a minefield. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services.    THE ONE WHO KNOCKS: Things get spooky for Rebecca Hall in David Bruckner’s ‘The Night House.’ Searchlight Pictures  0,0,10    "screen time"                       SCREEN TIME: Out on Film and more "
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  string(1429) " Dragon Con 2018 Parade   Steve Eberhardt (10 Of 44)  2018-09-05T16:01:03+00:00 Dragon Con 2018 Parade - Steve Eberhardt (10 of 44).jpg     dragon con Browse the Dragon Con schedule as well as recommendations. CL's critics & readers weigh in on the definitive guide to the event. Dragon Con 2018 Parade   Steve Eberhardt (10 Of 44)   2021-09-02T14:00:00+00:00  Dragon Con 2021 will.cardwell Will Cardwell CL Staff  2021-09-02T14:00:00+00:00 
 

!!About Dragon Con
Trekkies, steampunks, zombies, filkers, furries, goths, Klingons, Sleestaks, Predators, Aliens, and more descend on Downtown for the Southeast's largest sci-fi con. Come dressed as your favorite character from any number of sci-fi, horror, or fantasy films, comics, video games, etc. When it comes to Dragon Con, the wilder the better. The one Dragon Con must-see is the annual parade along Peachtree Street. Huge crowds, 10-people deep, line up super early to watch the Stormtroopers, Slave Leias, Dark Knight-era Jokers, and more strut up Atlanta's main thoroughfare.

!!Dragon Con Events By Day
     Steve Eberhardt   0,0,10 Dragon Con 2021 - Sunday (itemId:489406 trackerid:6), Dragon Con 2021 - Monday (itemId:489407 trackerid:6), Dragon Con 2021 - Thursday (itemId:489403 trackerid:6), Dragon Con 2021 - Saturday (itemId:489405 trackerid:6), Dragon Con 2021 - Friday (itemId:489404 trackerid:6)   "dragon con"                       Dragon Con 2021 "
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  string(12349) "Guitarist Jonny Daly used to be a full-on punk rocker. Living in New York in his late teens, he got to see the Ramones at a small club in Port Chester in 1978, which was a life-changing experience. But that wasn’t his first exposure to rock ’n’ roll.

Growing up in Miami, it was classic rock. Daly would steal his older sister’s records and play them incessantly: the first Hendrix album, the first couple of Doors albums, Steppenwolf, the first two Chicago records, Led Zeppelin, and other staples of the ’60s and early ’70s. “I was a beach rat and a jock until I picked up a guitar. (Then) I wanted to be Jimmy Page.”

But after seeing the Ramones, it was all over. Daly took a stab at writing songs, briefly adopted the moniker Jonny D, and formed his first punk band after moving to Dallas, Texas, in 1982. “It was me singing, and it was awful,” he recalls. “I think the writing left a lot to be desired as well. It flew because it was punk — so who cares?”

Much has changed since then. Daly, now 61, is well established as a session musician, arranger, composer, and producer in Atlanta who works in multiple styles of music with players of all kinds. In recent years he has worked with, among others, rootsy foursome Right as Rain, “online experiment” Beastie Y’all, indie folk-pop ensemble Kim Ware and the Good Graces, LA singer-songwriter Nancy Gardos, Paul Melancon & The New Insecurities, ambulette with Halley O'Malley and Matt Brown of Uncle Green, Rob Vincent & the Accents, and “rock chick” Sheila Green (formerly known as Lynsey Moon), whose album Anemoia he produced and on which he plays practically every instrument.

These days he plays onstage with Americana band Jackson County Line, featuring euphonic vocalist Kevin Jackson. “That’s my main gig, really,” Daly says, speaking on the phone from Freedom of Sound, his home studio in Marietta. “I like it because it’s grown-up music. I’m not trying to be a teenager or a 20-something guitar basher. It’s a little more cerebral to me. I can play the way I want to play and include effects and sounds as warranted by the song itself. There’s freedom in that, plus we have a cello player, and it’s pretty incredible to play along with the cello and back up a singer like Kevin.”

The Low Level Hum, Daly’s recently-released first solo album, is one which he produced, composing all of the music and writing most of the lyrics. For him it’s a deeply personal work. The songs reflect difficulties in his life and the losses he endured during the year of the pandemic. Daly addresses, among other upheavals, the sudden death of a young relative, his mother’s mental decline, and his own struggles with alcohol.

Why that title? “Each one of these songs represents a universal emotion as it relates to my experiences of the past year,” he says. “Those emotions also have a hum, so each one has a start point — which is the hum —- and you can hear it; it’s audible all through the song. Some of them have less of a hum, but they all have a sound that correlates with the theme of the album as a whole.”

He continues: “The Low Level Hum was a concept in my head a year ago. I thought, like we all do, about existential life and the crises that we face. I discovered the hum basically connects the brain and the heart and interacts with the emotions that we have. When we’re excited, the hum gets faster and louder in pitch. It’s like (German physicist Winfried) Schumann’s theory of an electromagnetic eon that develops a hum; the hum is persistent and lower in volume but deeper in its resonance, therefore it acknowledges that sadness that we feel.”

Daly no longer tries to sing. ”I’m just not a singer, but I’ve worked with great, great singers. I’ve been happy to take a backseat role,” he says. Kevin Jackson sings on the record, along with Stacey Cargal, Chandler McGee, Trappers Cabin, Miles Landrum, and Halley O’Malley. What does he look for in a singer? “A good tone and emotional quality; the ability to not be afraid in front of a mic; someone who can project what they’re singing about,” Daly offers. “As it pertains to this record, I picked singers who best suited the song, like the guy who sings ‘March Two Nine.’ That was Stacey Cargal; I thought he would be perfect for what I was trying to convey. That song is about the day I received news from home of my nephew’s suicide. It’s the shock, it’s the gut punch, the questioning of why. Every time something senseless occurs the question is ‘why?’”

Daly produced Cargal’s 2019 album $7 and Change, the title referencing the fatal mugging in 2003 of “lost friend” Christian Henderson for the meager sum of cash in his pocket. Cargal is the frontman for Blackfox, a band whose output is described as “golden country greats, played backwards for the devil” on its Facebook page. Daly plays guitar on the band’s well-received second album La Brea, and the two men are now collaborating on an electronic project that will also feature Blackfox’s Ryan Taylor.


Cargal and Taylor are both on a stark Hum track called “Requiem,” with the latter playing synths and piano. “It’s about my mom, who suffered from dementia, and it’s pretty evident through Stacey’s spoken word,” Daly acknowledges. “I had this concept of my mother being fully coherent inside her brain but not being able to express herself through the filter of her disease. She’s screaming on the inside, saying ‘can’t you hear me, can’t you hear me?’ She can’t express that; all she can say is ‘I don’t know you.’ It’s written from her standpoint.”

He adds, “That was a piece of music that I’ve had kicking around, and no one I presented it to knew what to do with it. They were baffled because they’re stuck in the whole Western formula of song composition. I completely am not.”

Chandler McGee, formerly of The Law Band, tackles the vocals on two of the album’s songs. Sung with vehement brutality, “Rage” is another “sonic personification of an emotion,” according to Daly. “When you feel rage, it’s just chaos. You can’t make heads or tails out of anything.” McGee was perfect for that, Daly says. “He is the essence of rage in that song,” adding, “Chandler is really intense, like a modern-day Jim Morrison by way of Rob Zombie.”

The other song on which McGee is featured, “Heartless Place,” is about resentment. “As an alcoholic, resentment is very evil to us because it chips away at the foundation of our sobriety if we allow it. To have resentment towards a partner or a partnership ... it eats you up.” Daly says “Heartless Place” is the other side of “Rage.” The first line is from “Sympathy for the Devil” — ‘I’m a man of wealth and taste’ — which Daly explains is the emotion of evil speaking to the person that it inhabits. “The last line about the helter-skelter at your door is a (Charles) Manson reference. How much more evil can you get?” In the song, McGee quotes a line from a poem by D.H. Lawrence: “We are mostly unexplored hinterland, and our consciousness is a spot of light in a great but living darkness.”

The Low Level Hum features a further array of talented veterans from Atlanta’s music scene. Kenny Creswell (Brand New Immortals, Butch Walker) plays drums on two tracks, and Paul Barrie (Donkey, Cigar Store Indians) plays them on four; Phil Skipper (Gracie Moon, Tinsley Ellis, Chris Stalcup and the Grange) plays fretless bass, and James Hall (Mary My Hope, Pleasure Club The Ladies of …) does a fine, tender trumpet solo on “Peaceful Dream,” a song near the end of the record that Daly describes as “a brief respite and escape from reality” in his liner notes.

Guitarist Spencer Kirkpatrick plays on that song as well. Kirkpatrick first got noticed as a local musician decades ago. When The Beatles performed at the Atlanta Stadium on  August 18, 1965, the winner of a local battle-of-the-bands contest won a spot to open the show. “It was Spencer’s band (The Atlanta Vibrations) that won that slot,” says Daly. Kirkpatrick, who many know from his blistering guitar work for the blues rock band Hydra in the ’70s, and now works at Atlanta Vintage Guitars, has been a frequent visitor to Daly’s studio for years, playing on numerous sessions. “He floors me; he’s so good and so humble,” says Daly. “He’d play a track that would leave my jaw on the ground, then he’d look up at me over his glasses and ask, ‘Was that okay?’”

The 2019 album Songs For Spencer Vol. 1 was created by Daly for Kirkpatrick without his direct knowledge. Daly explains: “I had no way of paying him back. His profile was low and he was always talking about needing work, so I got a bunch of writer friends of mine and they came over and recorded songs. Then I would have Spencer come over and play on top of them, not knowing it was for him, so it was a bit of a surprise when I sent him the whole album on SoundCloud. I said ‘Spencer, this is your record. Do with it what you will.’” The assembled songwriters who contributed to Songs For Spencer were Cargal, Jackson, Skipper, Chris Edmonds, Philip Buchanan, Zoenda McIntosh, and longtime Creative Loafing scribe James Kelly, frontman of Slim Chance & The Convicts.

Another album Daly made for a friend was Slow Peel by Chris Chandler & The Mercenaries, a 2020 remake of The Velvet Underground’s debut LP. “Chris helped me out with some government paperwork for the pandemic unemployment assistance,” Daly says, recalling how the two first met in the early days of COVID-19. “I noticed online he was playing guitar and singing, doing some Lou Reed thing. Since we were talking already he asked if I’d be willing to record a song by Reed. I said, ‘Why don’t we just do a whole record?’”

Slow Peel was recorded remotely, with all the musicians submitting their tracks through Dropbox. “I was in the studio doing my stuff and I said, ‘You get the cast of people, call whoever you want, and I’ll just put it together for you.’ It was pretty easy. Some of the stuff they sent over was absolutely amazing. It was a lot of fun and took no effort whatsoever.” Bassist Lee Kennedy and singer Halley O’Malley, two of Daly’s Hum cohorts, participated in the recording of Slow Peel.

So did ex-Uncle Green drummer Peter McDade, who plays in Beastie Y’all and in Melancon’s band The New Insecurities, and with whom Daly has just completed another venture. Now also a novelist, McDade wrote The Weight of Sound and will have a second book out next year. “He likes to do soundtracks for the songs that are involved with the fictional bands he’s writing about,” Daly says. “That was me and Pete and his former (Uncle Green) bandmate Jeff Jensen, so that’s done. I’m just waiting for Pete to get his book deal finished.”

Unsurprisingly, Daly is juggling a bunch of projects at the moment. Up-and-coming Americana band Boxcar Radio has an album in the works, as does Julie Gribble. “She’s a singer-songwriter I’ve known for a few years. She’s a cool writer with a great voice like Natalie Merchant — nice and husky,” he says. Playing bass and harmonica on Gribble’s record is Robin Vincent. “The talent that emanates from her is incredible,” says Daly. “We will work together again.” Another singer, Decatur-based Mike Killeen, is in the pipeline too. Charles Walston, formerly with The Vidalias, will have an album produced by Daly in the coming months. “He’s got a whole lot more life experience now, since The Vidalias. He sees the world differently and he writes a lot. He needs to be recorded and documented right now.”

Talking about himself and his vast output seems egocentric to him, Daly claims. “I’m not that way at all. I just keep busy because I love doing what I do. These are all friends of mine, and I have a studio in my house. I figured out a way to get people to come to me, outside the perimeter. At this age I’m afforded the time and perhaps the luxury of being able to do this for the years we have left on the planet. We still have something to offer.” —CL—"
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  string(12529) "Guitarist Jonny Daly used to be a full-on punk rocker. Living in New York in his late teens, he got to see the Ramones at a small club in Port Chester in 1978, which was a life-changing experience. But that wasn’t his first exposure to rock ’n’ roll.

Growing up in Miami, it was classic rock. Daly would steal his older sister’s records and play them incessantly: the first Hendrix album, the first couple of Doors albums, Steppenwolf, the first two Chicago records, Led Zeppelin, and other staples of the ’60s and early ’70s. “I was a beach rat and a jock until I picked up a guitar. (Then) I wanted to be Jimmy Page.”

But after seeing the Ramones, it was all over. Daly took a stab at writing songs, briefly adopted the moniker Jonny D, and formed his first punk band after moving to Dallas, Texas, in 1982. “It was me singing, and it was awful,” he recalls. “I think the writing left a lot to be desired as well. It flew because it was punk — so who cares?”

Much has changed since then. Daly, now 61, is well established as a session musician, arranger, composer, and producer in Atlanta who works in multiple styles of music with players of all kinds. In recent years he has worked with, among others, rootsy foursome Right as Rain, “online experiment” Beastie Y’all, indie folk-pop ensemble Kim Ware and the Good Graces, LA singer-songwriter Nancy Gardos, Paul Melancon & The New Insecurities, ambulette with Halley O'Malley and Matt Brown of Uncle Green, Rob Vincent & the Accents, and “rock chick” Sheila Green (formerly known as Lynsey Moon), whose album ''Anemoia'' he produced and on which he plays practically every instrument.

These days he plays onstage with Americana band Jackson County Line, featuring euphonic vocalist Kevin Jackson. “That’s my main gig, really,” Daly says, speaking on the phone from Freedom of Sound, his home studio in Marietta. “I like it because it’s grown-up music. I’m not trying to be a teenager or a 20-something guitar basher. It’s a little more cerebral to me. I can play the way I want to play and include effects and sounds as warranted by the song itself. There’s freedom in that, plus we have a cello player, and it’s pretty incredible to play along with the cello and back up a singer like Kevin.”

''The Low Level Hum'', Daly’s recently-released first solo album, is one which he produced, composing all of the music and writing most of the lyrics. For him it’s a deeply personal work. The songs reflect difficulties in his life and the losses he endured during the year of the pandemic. Daly addresses, among other upheavals, the sudden death of a young relative, his mother’s mental decline, and his own struggles with alcohol.

Why that title? “Each one of these songs represents a universal emotion as it relates to my experiences of the past year,” he says. “Those emotions also have a hum, so each one has a start point — which is the hum —- and you can hear it; it’s audible all through the song. Some of them have less of a hum, but they all have a sound that correlates with the theme of the album as a whole.”

He continues: “''The Low Level Hum'' was a concept in my head a year ago. I thought, like we all do, about existential life and the crises that we face. I discovered the hum basically connects the brain and the heart and interacts with the emotions that we have. When we’re excited, the hum gets faster and louder in pitch. It’s like (German physicist Winfried) Schumann’s theory of an electromagnetic eon that develops a hum; the hum is persistent and lower in volume but deeper in its resonance, therefore it acknowledges that sadness that we feel.”

Daly no longer tries to sing. ”I’m just not a singer, but I’ve worked with great, great singers. I’ve been happy to take a backseat role,” he says. Kevin Jackson sings on the record, along with Stacey Cargal, Chandler McGee, Trappers Cabin, Miles Landrum, and Halley O’Malley. What does he look for in a singer? “A good tone and emotional quality; the ability to not be afraid in front of a mic; someone who can project what they’re singing about,” Daly offers. “As it pertains to this record, I picked singers who best suited the song, like the guy who sings ‘March Two Nine.’ That was Stacey Cargal; I thought he would be perfect for what I was trying to convey. That song is about the day I received news from home of my nephew’s suicide. It’s the shock, it’s the gut punch, the questioning of why. Every time something senseless occurs the question is ‘why?’”

Daly produced Cargal’s 2019 album ''$7 and Change'', the title referencing the fatal mugging in 2003 of “lost friend” Christian Henderson for the meager sum of cash in his pocket. Cargal is the frontman for Blackfox, a band whose output is described as “golden country greats, played backwards for the devil” on its Facebook page. Daly plays guitar on the band’s well-received second album ''La Brea'', and the two men are now collaborating on an electronic project that will also feature Blackfox’s Ryan Taylor.

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Cargal and Taylor are both on a stark ''Hum'' track called “Requiem,” with the latter playing synths and piano. “It’s about my mom, who suffered from dementia, and it’s pretty evident through Stacey’s spoken word,” Daly acknowledges. “I had this concept of my mother being fully coherent inside her brain but not being able to express herself through the filter of her disease. She’s screaming on the inside, saying ‘can’t you hear me, can’t you hear me?’ She can’t express that; all she can say is ‘I don’t know you.’ It’s written from her standpoint.”

He adds, “That was a piece of music that I’ve had kicking around, and no one I presented it to knew what to do with it. They were baffled because they’re stuck in the whole Western formula of song composition. I completely am not.”

Chandler McGee, formerly of The Law Band, tackles the vocals on two of the album’s songs. Sung with vehement brutality, “Rage” is another “sonic personification of an emotion,” according to Daly. “When you feel rage, it’s just chaos. You can’t make heads or tails out of anything.” McGee was perfect for that, Daly says. “He is the essence of rage in that song,” adding, “Chandler is really intense, like a modern-day Jim Morrison by way of Rob Zombie.”

The other song on which McGee is featured, “Heartless Place,” is about resentment. “As an alcoholic, resentment is very evil to us because it chips away at the foundation of our sobriety if we allow it. To have resentment towards a partner or a partnership ... it eats you up.” Daly says “Heartless Place” is the other side of “Rage.” The first line is from “Sympathy for the Devil” — ‘I’m a man of wealth and taste’ — which Daly explains is the emotion of evil speaking to the person that it inhabits. “The last line about the helter-skelter at your door is a (Charles) Manson reference. How much more evil can you get?” In the song, McGee quotes a line from a poem by D.H. Lawrence: “We are mostly unexplored hinterland, and our consciousness is a spot of light in a great but living darkness.”

''The Low Level Hum'' features a further array of talented veterans from Atlanta’s music scene. Kenny Creswell (Brand New Immortals, Butch Walker) plays drums on two tracks, and Paul Barrie (Donkey, Cigar Store Indians) plays them on four; Phil Skipper (Gracie Moon, Tinsley Ellis, Chris Stalcup and the Grange) plays fretless bass, and James Hall (Mary My Hope, Pleasure Club The Ladies of …) does a fine, tender trumpet solo on “Peaceful Dream,” a song near the end of the record that Daly describes as “a brief respite and escape from reality” in his liner notes.

Guitarist Spencer Kirkpatrick plays on that song as well. Kirkpatrick first got noticed as a local musician decades ago. When The Beatles performed at the Atlanta Stadium on  August 18, 1965, the winner of a local battle-of-the-bands contest won a spot to open the show. “It was Spencer’s band (The Atlanta Vibrations) that won that slot,” says Daly. Kirkpatrick, who many know from his blistering guitar work for the blues rock band Hydra in the ’70s, and now works at Atlanta Vintage Guitars, has been a frequent visitor to Daly’s studio for years, playing on numerous sessions. “He floors me; he’s so good and so humble,” says Daly. “He’d play a track that would leave my jaw on the ground, then he’d look up at me over his glasses and ask, ‘Was that okay?’”

The 2019 album ''Songs For Spencer Vol. 1'' was created by Daly for Kirkpatrick without his direct knowledge. Daly explains: “I had no way of paying him back. His profile was low and he was always talking about needing work, so I got a bunch of writer friends of mine and they came over and recorded songs. Then I would have Spencer come over and play on top of them, not knowing it was for him, so it was a bit of a surprise when I sent him the whole album on SoundCloud. I said ‘Spencer, this is your record. Do with it what you will.’” The assembled songwriters who contributed to ''Songs For Spencer'' were Cargal, Jackson, Skipper, Chris Edmonds, Philip Buchanan, Zoenda McIntosh, and longtime ''Creative Loafing'' scribe James Kelly, frontman of Slim Chance & The Convicts.

Another album Daly made for a friend was ''Slow Peel'' by Chris Chandler & The Mercenaries, a 2020 remake of The Velvet Underground’s debut LP. “Chris helped me out with some government paperwork for the pandemic unemployment assistance,” Daly says, recalling how the two first met in the early days of COVID-19. “I noticed online he was playing guitar and singing, doing some Lou Reed thing. Since we were talking already he asked if I’d be willing to record a song by Reed. I said, ‘Why don’t we just do a whole record?’”

''Slow Peel'' was recorded remotely, with all the musicians submitting their tracks through Dropbox. “I was in the studio doing my stuff and I said, ‘You get the cast of people, call whoever you want, and I’ll just put it together for you.’ It was pretty easy. Some of the stuff they sent over was absolutely amazing. It was a lot of fun and took no effort whatsoever.” Bassist Lee Kennedy and singer Halley O’Malley, two of Daly’s ''Hum'' cohorts, participated in the recording of ''Slow Peel''.

So did ex-Uncle Green drummer Peter McDade, who plays in Beastie Y’all and in Melancon’s band The New Insecurities, and with whom Daly has just completed another venture. Now also a novelist, McDade wrote ''The Weight of Sound'' and will have a second book out next year. “He likes to do soundtracks for the songs that are involved with the fictional bands he’s writing about,” Daly says. “That was me and Pete and his former (Uncle Green) bandmate Jeff Jensen, so that’s done. I’m just waiting for Pete to get his book deal finished.”

Unsurprisingly, Daly is juggling a bunch of projects at the moment. Up-and-coming Americana band Boxcar Radio has an album in the works, as does Julie Gribble. “She’s a singer-songwriter I’ve known for a few years. She’s a cool writer with a great voice like Natalie Merchant — nice and husky,” he says. Playing bass and harmonica on Gribble’s record is Robin Vincent. “The talent that emanates from her is incredible,” says Daly. “We will work together again.” Another singer, Decatur-based Mike Killeen, is in the pipeline too. Charles Walston, formerly with The Vidalias, will have an album produced by Daly in the coming months. “He’s got a whole lot more life experience now, since The Vidalias. He sees the world differently and he writes a lot. He needs to be recorded and documented right now.”

Talking about himself and his vast output seems egocentric to him, Daly claims. “I’m not that way at all. I just keep busy because I love doing what I do. These are all friends of mine, and I have a studio in my house. I figured out a way to get people to come to me, outside the perimeter. At this age I’m afforded the time and perhaps the luxury of being able to do this for the years we have left on the planet. We still have something to offer.” __—CL—__"
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  string(12830) " DALY Lede Comp Web  2021-09-03T16:49:10+00:00 DALY_lede_comp_web.jpg      Surrounded by musical allies, prolific Atlanta guitarist launches his first solo project DALY Lede Comp Web   2021-09-03T16:28:19+00:00  Jonny Daly and ‘The Low Level Hum’ jim.harris Jim Harris KEVIN C. MADIGAN kcmadigan (Kevin C. Madigan) 2021-09-03T16:28:19+00:00 Guitarist Jonny Daly used to be a full-on punk rocker. Living in New York in his late teens, he got to see the Ramones at a small club in Port Chester in 1978, which was a life-changing experience. But that wasn’t his first exposure to rock ’n’ roll.

Growing up in Miami, it was classic rock. Daly would steal his older sister’s records and play them incessantly: the first Hendrix album, the first couple of Doors albums, Steppenwolf, the first two Chicago records, Led Zeppelin, and other staples of the ’60s and early ’70s. “I was a beach rat and a jock until I picked up a guitar. (Then) I wanted to be Jimmy Page.”

But after seeing the Ramones, it was all over. Daly took a stab at writing songs, briefly adopted the moniker Jonny D, and formed his first punk band after moving to Dallas, Texas, in 1982. “It was me singing, and it was awful,” he recalls. “I think the writing left a lot to be desired as well. It flew because it was punk — so who cares?”

Much has changed since then. Daly, now 61, is well established as a session musician, arranger, composer, and producer in Atlanta who works in multiple styles of music with players of all kinds. In recent years he has worked with, among others, rootsy foursome Right as Rain, “online experiment” Beastie Y’all, indie folk-pop ensemble Kim Ware and the Good Graces, LA singer-songwriter Nancy Gardos, Paul Melancon & The New Insecurities, ambulette with Halley O'Malley and Matt Brown of Uncle Green, Rob Vincent & the Accents, and “rock chick” Sheila Green (formerly known as Lynsey Moon), whose album Anemoia he produced and on which he plays practically every instrument.

These days he plays onstage with Americana band Jackson County Line, featuring euphonic vocalist Kevin Jackson. “That’s my main gig, really,” Daly says, speaking on the phone from Freedom of Sound, his home studio in Marietta. “I like it because it’s grown-up music. I’m not trying to be a teenager or a 20-something guitar basher. It’s a little more cerebral to me. I can play the way I want to play and include effects and sounds as warranted by the song itself. There’s freedom in that, plus we have a cello player, and it’s pretty incredible to play along with the cello and back up a singer like Kevin.”

The Low Level Hum, Daly’s recently-released first solo album, is one which he produced, composing all of the music and writing most of the lyrics. For him it’s a deeply personal work. The songs reflect difficulties in his life and the losses he endured during the year of the pandemic. Daly addresses, among other upheavals, the sudden death of a young relative, his mother’s mental decline, and his own struggles with alcohol.

Why that title? “Each one of these songs represents a universal emotion as it relates to my experiences of the past year,” he says. “Those emotions also have a hum, so each one has a start point — which is the hum —- and you can hear it; it’s audible all through the song. Some of them have less of a hum, but they all have a sound that correlates with the theme of the album as a whole.”

He continues: “The Low Level Hum was a concept in my head a year ago. I thought, like we all do, about existential life and the crises that we face. I discovered the hum basically connects the brain and the heart and interacts with the emotions that we have. When we’re excited, the hum gets faster and louder in pitch. It’s like (German physicist Winfried) Schumann’s theory of an electromagnetic eon that develops a hum; the hum is persistent and lower in volume but deeper in its resonance, therefore it acknowledges that sadness that we feel.”

Daly no longer tries to sing. ”I’m just not a singer, but I’ve worked with great, great singers. I’ve been happy to take a backseat role,” he says. Kevin Jackson sings on the record, along with Stacey Cargal, Chandler McGee, Trappers Cabin, Miles Landrum, and Halley O’Malley. What does he look for in a singer? “A good tone and emotional quality; the ability to not be afraid in front of a mic; someone who can project what they’re singing about,” Daly offers. “As it pertains to this record, I picked singers who best suited the song, like the guy who sings ‘March Two Nine.’ That was Stacey Cargal; I thought he would be perfect for what I was trying to convey. That song is about the day I received news from home of my nephew’s suicide. It’s the shock, it’s the gut punch, the questioning of why. Every time something senseless occurs the question is ‘why?’”

Daly produced Cargal’s 2019 album $7 and Change, the title referencing the fatal mugging in 2003 of “lost friend” Christian Henderson for the meager sum of cash in his pocket. Cargal is the frontman for Blackfox, a band whose output is described as “golden country greats, played backwards for the devil” on its Facebook page. Daly plays guitar on the band’s well-received second album La Brea, and the two men are now collaborating on an electronic project that will also feature Blackfox’s Ryan Taylor.


Cargal and Taylor are both on a stark Hum track called “Requiem,” with the latter playing synths and piano. “It’s about my mom, who suffered from dementia, and it’s pretty evident through Stacey’s spoken word,” Daly acknowledges. “I had this concept of my mother being fully coherent inside her brain but not being able to express herself through the filter of her disease. She’s screaming on the inside, saying ‘can’t you hear me, can’t you hear me?’ She can’t express that; all she can say is ‘I don’t know you.’ It’s written from her standpoint.”

He adds, “That was a piece of music that I’ve had kicking around, and no one I presented it to knew what to do with it. They were baffled because they’re stuck in the whole Western formula of song composition. I completely am not.”

Chandler McGee, formerly of The Law Band, tackles the vocals on two of the album’s songs. Sung with vehement brutality, “Rage” is another “sonic personification of an emotion,” according to Daly. “When you feel rage, it’s just chaos. You can’t make heads or tails out of anything.” McGee was perfect for that, Daly says. “He is the essence of rage in that song,” adding, “Chandler is really intense, like a modern-day Jim Morrison by way of Rob Zombie.”

The other song on which McGee is featured, “Heartless Place,” is about resentment. “As an alcoholic, resentment is very evil to us because it chips away at the foundation of our sobriety if we allow it. To have resentment towards a partner or a partnership ... it eats you up.” Daly says “Heartless Place” is the other side of “Rage.” The first line is from “Sympathy for the Devil” — ‘I’m a man of wealth and taste’ — which Daly explains is the emotion of evil speaking to the person that it inhabits. “The last line about the helter-skelter at your door is a (Charles) Manson reference. How much more evil can you get?” In the song, McGee quotes a line from a poem by D.H. Lawrence: “We are mostly unexplored hinterland, and our consciousness is a spot of light in a great but living darkness.”

The Low Level Hum features a further array of talented veterans from Atlanta’s music scene. Kenny Creswell (Brand New Immortals, Butch Walker) plays drums on two tracks, and Paul Barrie (Donkey, Cigar Store Indians) plays them on four; Phil Skipper (Gracie Moon, Tinsley Ellis, Chris Stalcup and the Grange) plays fretless bass, and James Hall (Mary My Hope, Pleasure Club The Ladies of …) does a fine, tender trumpet solo on “Peaceful Dream,” a song near the end of the record that Daly describes as “a brief respite and escape from reality” in his liner notes.

Guitarist Spencer Kirkpatrick plays on that song as well. Kirkpatrick first got noticed as a local musician decades ago. When The Beatles performed at the Atlanta Stadium on  August 18, 1965, the winner of a local battle-of-the-bands contest won a spot to open the show. “It was Spencer’s band (The Atlanta Vibrations) that won that slot,” says Daly. Kirkpatrick, who many know from his blistering guitar work for the blues rock band Hydra in the ’70s, and now works at Atlanta Vintage Guitars, has been a frequent visitor to Daly’s studio for years, playing on numerous sessions. “He floors me; he’s so good and so humble,” says Daly. “He’d play a track that would leave my jaw on the ground, then he’d look up at me over his glasses and ask, ‘Was that okay?’”

The 2019 album Songs For Spencer Vol. 1 was created by Daly for Kirkpatrick without his direct knowledge. Daly explains: “I had no way of paying him back. His profile was low and he was always talking about needing work, so I got a bunch of writer friends of mine and they came over and recorded songs. Then I would have Spencer come over and play on top of them, not knowing it was for him, so it was a bit of a surprise when I sent him the whole album on SoundCloud. I said ‘Spencer, this is your record. Do with it what you will.’” The assembled songwriters who contributed to Songs For Spencer were Cargal, Jackson, Skipper, Chris Edmonds, Philip Buchanan, Zoenda McIntosh, and longtime Creative Loafing scribe James Kelly, frontman of Slim Chance & The Convicts.

Another album Daly made for a friend was Slow Peel by Chris Chandler & The Mercenaries, a 2020 remake of The Velvet Underground’s debut LP. “Chris helped me out with some government paperwork for the pandemic unemployment assistance,” Daly says, recalling how the two first met in the early days of COVID-19. “I noticed online he was playing guitar and singing, doing some Lou Reed thing. Since we were talking already he asked if I’d be willing to record a song by Reed. I said, ‘Why don’t we just do a whole record?’”

Slow Peel was recorded remotely, with all the musicians submitting their tracks through Dropbox. “I was in the studio doing my stuff and I said, ‘You get the cast of people, call whoever you want, and I’ll just put it together for you.’ It was pretty easy. Some of the stuff they sent over was absolutely amazing. It was a lot of fun and took no effort whatsoever.” Bassist Lee Kennedy and singer Halley O’Malley, two of Daly’s Hum cohorts, participated in the recording of Slow Peel.

So did ex-Uncle Green drummer Peter McDade, who plays in Beastie Y’all and in Melancon’s band The New Insecurities, and with whom Daly has just completed another venture. Now also a novelist, McDade wrote The Weight of Sound and will have a second book out next year. “He likes to do soundtracks for the songs that are involved with the fictional bands he’s writing about,” Daly says. “That was me and Pete and his former (Uncle Green) bandmate Jeff Jensen, so that’s done. I’m just waiting for Pete to get his book deal finished.”

Unsurprisingly, Daly is juggling a bunch of projects at the moment. Up-and-coming Americana band Boxcar Radio has an album in the works, as does Julie Gribble. “She’s a singer-songwriter I’ve known for a few years. She’s a cool writer with a great voice like Natalie Merchant — nice and husky,” he says. Playing bass and harmonica on Gribble’s record is Robin Vincent. “The talent that emanates from her is incredible,” says Daly. “We will work together again.” Another singer, Decatur-based Mike Killeen, is in the pipeline too. Charles Walston, formerly with The Vidalias, will have an album produced by Daly in the coming months. “He’s got a whole lot more life experience now, since The Vidalias. He sees the world differently and he writes a lot. He needs to be recorded and documented right now.”

Talking about himself and his vast output seems egocentric to him, Daly claims. “I’m not that way at all. I just keep busy because I love doing what I do. These are all friends of mine, and I have a studio in my house. I figured out a way to get people to come to me, outside the perimeter. At this age I’m afforded the time and perhaps the luxury of being able to do this for the years we have left on the planet. We still have something to offer.” —CL—    jonny daly IN THE STUDIO: Jonny Daly (inset) at home.  0,0,10                           Jonny Daly and ‘The Low Level Hum’ "
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The 43rd annual Atlanta Jazz Festival will take place in September 5-6 2021. The Festival was rescheduled from its traditional Memorial Day Weekend date and will follow all COVID-19 guidelines as determined by Georgia and the City of Atlanta at the date of the Festival. 

There will be two stages set up and running from 1pm to 10:30 both days. The Meadow Stage is close to to Park Tavern near the corner of Monroe and 10th Street. The Oak Hill Stage is along 10th Street just northwest/across from Midtown High (formerly Grady High School). 

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~~#333333:The 43rd annual Atlanta Jazz Festival will take place in September 5-6 2021. The Festival was rescheduled from its traditional Memorial Day Weekend date and will follow all COVID-19 guidelines as determined by Georgia and the City of Atlanta at the date of the Festival. ~~

~~#333333:There will be two stages set up and running from 1pm to 10:30 both days. The Meadow Stage is close to to Park Tavern near the corner of Monroe and 10th Street. The Oak Hill Stage is along 10th Street just northwest/across from Midtown High (formerly Grady High School). ~~

The headliner for Sunday's show will be [https://atlantafestivals.com/artist/patti-austin/|Patti Austin] and for Monday's Night's show it will be [https://atlantafestivals.com/artist/archie-shepp/|Archie Shepp].

The festival is produced by City of Atlanta Mayor's Office of Cultural Affairs and is free and open to the public.

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  string(1433) " AJF21 WebSlider General@2x 1052x392  2021-09-01T18:28:41+00:00 AJF21_WebSlider_General@2x-1052x392.jpg     atlanta jazz festival Atlanta Jazz Festival returns Labor Day Weekend 2021. The event will take place in Piedmont Park Sunday, September 5th and Monday, September 6th.  AJF21 WebSlider General@2x 1052x392   2021-09-05T17:00:00+00:00  Atlanta Jazz Festival 2021 ben.eason Ben Eason CL Events Staff  2021-09-05T17:00:00+00:00 
The 43rd annual Atlanta Jazz Festival will take place in September 5-6 2021. The Festival was rescheduled from its traditional Memorial Day Weekend date and will follow all COVID-19 guidelines as determined by Georgia and the City of Atlanta at the date of the Festival. 

There will be two stages set up and running from 1pm to 10:30 both days. The Meadow Stage is close to to Park Tavern near the corner of Monroe and 10th Street. The Oak Hill Stage is along 10th Street just northwest/across from Midtown High (formerly Grady High School). 

The headliner for Sunday's show will be Patti Austin and for Monday's Night's show it will be Archie Shepp.

The festival is produced by City of Atlanta Mayor's Office of Cultural Affairs and is free and open to the public.



     Courtesy Atlanta Jazz Festival 2021 Atlanta Jazz Festival at Piedmont Park  0,0,10   Atlanta Jazz Festival 2021 Postponed to Fall "atlanta jazz festival"                       Atlanta Jazz Festival 2021 "
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Listen and watch "Inside" here.

The Music:
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Laurie Morrison - bass and vocals
Steve Beach - guitar
Billy Gewin - piano and other synths
Kevin Morrison - guitar
Kellii Scott - drums
Madeline Brumby - backing vocals

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Listen and watch "Inside" [https://www.youtube.com/watch?v=7p55QRKii14|here].

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Laurie Morrison - bass and vocals
Steve Beach - guitar
Billy Gewin - piano and other synths
Kevin Morrison - guitar
Kellii Scott - drums
Madeline Brumby - backing vocals

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Assistant Director: Keith Books
Directors of Photography: John Prew and Dylan Wintersteen
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Laurie Morrison - bass and vocals
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Kevin Morrison - guitar
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Madeline Brumby - backing vocals

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“Ghost Party is a vast departure from our previous work, with “Dark Colossus” offering a glimpse into the rest of the album,” Chandler says.

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“''Ghost Party'' is a vast departure from our previous work, with “Dark Colossus” offering a glimpse into the rest of the album,” Chandler says.

Monsoon’s cult-like fan base is due in large in part to the success of their “Ride A’Rolla” song placement in the [https://www.youtube.com/watch?v=00CKv2muUMk|2016 Super Bowl’s Toyota Corolla commercial]. Since the commercial’s release, Monsoon has been writing and working tirelessly to bring fans new music while continuing to perform regularly and grow their audience.

“I’ve become a better guitar player, a better musician, with a better grasp on what it is I’d like to be playing and listening to. I went to recording school, learned a few party tricks, and here we are with an almost entirely different band from where we started,” Chandler admits, commenting on the band’s growth. “Our upcoming album ''Ghost Party'' is a complete departure from the fast paced, youthful punk riffs ''Ride A’Rolla'' so effortlessly brought to the table. It didn’t happen intentionally, but as you grow, so does your comprehension and ability to salt and pepper your music. Certain sounds become easier to relay. Revising your work (in the studio), just as you would (writings) on paper, becomes crucial. That’s what we did.”

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''Director of photography- __Kyler Vollmar__''
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Director of photography- Kyler Vollmar
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Mixed and mastered by Joey Kegel    KYLER VOLLMAR MONSOON: Joey Kegel (left) and Sienna Chandler.                             NEW ATHENS MUSIC: Monsoon release 'Dark Colossus' "
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Peachtree City’s Line Creek Brewing Company will be opening up a second location in Fayetteville called Line Creek Bus Barn this fall.  Construction on the new building will be wrapping up soon.

Suwanee’s Monkey Wrench Brewing features an open mic night every Tuesday at 7 p.m.  The shows are all ages and instruments are provided if you want to give it a shot.

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Roswell’s Variant Brewing Company just released a new New England IPA called Valewalker featuring Mosaic, Citra, and Simcoe hops, and standout notes of peach gummy rings, lemon, orange, and passionfruit.

Second Self Beer Co’s hard seltzer line, Rudi’s Hard Seltzer, just released two new flavors — Cucumber Basil and Peachy King.  Both are 110 calories and zero carbs and are available on tap and in cans at their taproom.

Social Fox Brewing in Norcross just picked up a bronze medal at the US Open Beer Championship (one of the top three beer competitions in the US) for their Dry Irish Stout. Try one out on Saturday, Sept.18 from 1-10 p.m.at their Hops and Heroes event, where a portion of the proceeds goes to benefit Hero Dog Rescue.  They’ll also have dogs on site to adopt/foster as well as dog merch available.

"Ales & Overlands," the off-road car show and happy hour, is back at Steady Hand Beer Co Saturday, Sept. 25 from 1-5 p. m. Check out some vintage off-road vehicles — or bring your own. They’ll have live music and a food truck as well.

Avondale and the West End’s Wild Heaven Beer just released Ry-Gold Golden Ale, brewed with rye, pineapple, and honeydew. A portion of the proceeds will go to benefit CURE Childhood Cancer, a non-profit organization dedicated to conquering childhood cancer through funding targeted research while supporting patients and their families.

Burnt Hickory Brewery in Kennesaw celebrates Oktoberfest Saturday, Sept. 18 from noon until 11 p.m. with Marzen and Pilsner Cask Beers, limited edition beer mugs, Bavarian Oktoberfest Music, and the Drawn & Disorderly artist market. They’ll also have their yearly Mudhoney Oktoberfest Marzen available.

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration Sept. 18 through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! —CL—"
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"Ales & Overlands," the off-road car show and happy hour, is back at __Steady Hand Beer Co__ Saturday, Sept. 25 from 1-5 p. m. Check out some vintage off-road vehicles — or bring your own. They’ll have live music and a food truck as well.

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Peachtree City’s Line Creek Brewing Company will be opening up a second location in Fayetteville called Line Creek Bus Barn this fall.  Construction on the new building will be wrapping up soon.

Suwanee’s Monkey Wrench Brewing features an open mic night every Tuesday at 7 p.m.  The shows are all ages and instruments are provided if you want to give it a shot.

Marietta’s Red Hare Brewing and Glover Park Brewery are teaming up to support the annual Root House Beer Festival on Nov. 13.  Each year, the festival works with local breweries to create a collection of beers crafted with hops, fruit and herbs harvested from the historic gardens at the William Root House in Marietta.

Avondale’s Wild Heaven Beer celebrates its 11 anniversary in September and just opened a live music venue at their West End location called The Garden Club. They’ve installed the fastest-working, most advanced air filtration system they could find, and ticketholders must present proof of vaccination or a negative COVID test no more than 72 hours old.

Celebrate Disco Night at StillFire Brewing in Suwanee Sept. 24!  The Neon Queen, an ABBA tribute band, will be performing at 9 p.m., and they’ll also have an iABBA inspired light show!

Roswell’s Variant Brewing Company just released a new New England IPA called Valewalker featuring Mosaic, Citra, and Simcoe hops, and standout notes of peach gummy rings, lemon, orange, and passionfruit.

Second Self Beer Co’s hard seltzer line, Rudi’s Hard Seltzer, just released two new flavors — Cucumber Basil and Peachy King.  Both are 110 calories and zero carbs and are available on tap and in cans at their taproom.

Social Fox Brewing in Norcross just picked up a bronze medal at the US Open Beer Championship (one of the top three beer competitions in the US) for their Dry Irish Stout. Try one out on Saturday, Sept.18 from 1-10 p.m.at their Hops and Heroes event, where a portion of the proceeds goes to benefit Hero Dog Rescue.  They’ll also have dogs on site to adopt/foster as well as dog merch available.

"Ales & Overlands," the off-road car show and happy hour, is back at Steady Hand Beer Co Saturday, Sept. 25 from 1-5 p. m. Check out some vintage off-road vehicles — or bring your own. They’ll have live music and a food truck as well.

Avondale and the West End’s Wild Heaven Beer just released Ry-Gold Golden Ale, brewed with rye, pineapple, and honeydew. A portion of the proceeds will go to benefit CURE Childhood Cancer, a non-profit organization dedicated to conquering childhood cancer through funding targeted research while supporting patients and their families.

Burnt Hickory Brewery in Kennesaw celebrates Oktoberfest Saturday, Sept. 18 from noon until 11 p.m. with Marzen and Pilsner Cask Beers, limited edition beer mugs, Bavarian Oktoberfest Music, and the Drawn & Disorderly artist market. They’ll also have their yearly Mudhoney Oktoberfest Marzen available.

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration Sept. 18 through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! —CL—    MATT WELLUMSON CELEBRATING FIVE YEARS: Scofflaw Brewing ... and eight baby goats!  0,0,10                           ON TAP: Anniversaries and Oktoberfest being served "
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!!About Imagine Music Festival
What started in 2014 as a modest music festival in Historic Fourth Ward Park is now one of the nation’s most anticipated EDM gatherings. These days, Imagine calls the Atlanta Motor Speedway near rural Hampton, Georgia its home. Over the years, the festival has more than doubled in attendance and scope, while remaining independent, which founders Glenn and Madeleine Goodhand say “allows for the creative freedom to build that vision of the Aquatic Fairytale each year.”

 

!!Imagine Music Festival Events
 

!!Creative Loafing Stories About the Imagine Music Festival


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!!About Imagine Music Festival
What started in 2014 as a modest music festival in Historic Fourth Ward Park is now one of the nation’s most anticipated EDM gatherings. These days, Imagine calls the Atlanta Motor Speedway near rural Hampton, Georgia its home. Over the years, the festival has more than doubled in attendance and scope, while remaining independent, which founders Glenn and Madeleine Goodhand say “allows for the creative freedom to build that vision of the Aquatic Fairytale each year.”

 

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!!About Imagine Music Festival
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!!Imagine Music Festival Events
 

!!Creative Loafing Stories About the Imagine Music Festival


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2021 LINEUP: 

Mom Rock, Morgan Vinson, Saleka, Teddy Swims, Unusual Demont, 070Shake, Girl In Red, Ashnikko, Mariah The Scientist, Dashboard Confessional, Eric Nam, Oliver Tree, Lauv, 21 Savage, AJR, 21 Savage, Tierra Whack, Machine Gun Kelly, Jonas Brothers, Maroon 5, Claud, Ant Clemons, Kenny Mason, Sophia Messa, Remi Wolf, Masked Wolf, Tate Mcrae, Gus Dapperton, 24KGoldn, Latto, Surfaces, Bleachers, Yungblud, Megan Thee Stallion, Jack Harlow, Black Pumas, Miley Cyrus, Marshmello"
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Mom Rock, Morgan Vinson, Saleka, Teddy Swims, Unusual Demont, 070Shake, Girl In Red, Ashnikko, Mariah The Scientist, Dashboard Confessional, Eric Nam, Oliver Tree, Lauv, 21 Savage, AJR, 21 Savage, Tierra Whack, Machine Gun Kelly, Jonas Brothers, Maroon 5, Claud, Ant Clemons, Kenny Mason, Sophia Messa, Remi Wolf, Masked Wolf, Tate Mcrae, Gus Dapperton, 24KGoldn, Latto, Surfaces, Bleachers, Yungblud, Megan Thee Stallion, Jack Harlow, Black Pumas, Miley Cyrus, Marshmello"
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!!About Music Midtown
With its initial run from 1994 to 2005, Peter Conlon and the late Alex Cooley's Music Midtown earned a reputation as Atlanta’s definitive outdoor, large music festival. Following a six-year hiatus, the event, powered by Conlon and LiveNation, has reached cruising altitude, growing heftier with each successive year, presenting established and rising mainstream musical acts. Sign up online for this year’s lineup, schedule, and contests. The festivities unfold in the heart of Piedmont Park. PRO TIP: It’s an urban festival, so take advantage of the transportation systems the city has to offer. Take a ride on MARTA or stroll to it on the BeltLine. Avoiding the nightmare traffic situation that backs up at the intersection of 10th and Monroe through Midtown will improve everyone’s festival experience.

 

!!Music Midtown Events
 

!!Creative Loafing Stories About Music Midtown
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!!About Music Midtown
With its initial run from 1994 to 2005, Peter Conlon and the late Alex Cooley's Music Midtown earned a reputation as Atlanta’s definitive outdoor, large music festival. Following a six-year hiatus, the event, powered by Conlon and LiveNation, has reached cruising altitude, growing heftier with each successive year, presenting established and rising mainstream musical acts. Sign up online for this year’s lineup, schedule, and contests. The festivities unfold in the heart of Piedmont Park. PRO TIP: It’s an urban festival, so take advantage of the transportation systems the city has to offer. Take a ride on MARTA or stroll to it on the BeltLine. Avoiding the nightmare traffic situation that backs up at the intersection of 10th and Monroe through Midtown will improve everyone’s festival experience.

 

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2021 LINEUP: 

Mom Rock, Morgan Vinson, Saleka, Teddy Swims, Unusual Demont, 070Shake, Girl In Red, Ashnikko, Mariah The Scientist, Dashboard Confessional, Eric Nam, Oliver Tree, Lauv, 21 Savage, AJR, 21 Savage, Tierra Whack, Machine Gun Kelly, Jonas Brothers, Maroon 5, Claud, Ant Clemons, Kenny Mason, Sophia Messa, Remi Wolf, Masked Wolf, Tate Mcrae, Gus Dapperton, 24KGoldn, Latto, Surfaces, Bleachers, Yungblud, Megan Thee Stallion, Jack Harlow, Black Pumas, Miley Cyrus, Marshmello DSC3170   2021-09-18T16:00:00+00:00  Music Midtown 2021 will.cardwell Will Cardwell CL Staff  2021-09-18T16:00:00+00:00 
 

!!About Music Midtown
With its initial run from 1994 to 2005, Peter Conlon and the late Alex Cooley's Music Midtown earned a reputation as Atlanta’s definitive outdoor, large music festival. Following a six-year hiatus, the event, powered by Conlon and LiveNation, has reached cruising altitude, growing heftier with each successive year, presenting established and rising mainstream musical acts. Sign up online for this year’s lineup, schedule, and contests. The festivities unfold in the heart of Piedmont Park. PRO TIP: It’s an urban festival, so take advantage of the transportation systems the city has to offer. Take a ride on MARTA or stroll to it on the BeltLine. Avoiding the nightmare traffic situation that backs up at the intersection of 10th and Monroe through Midtown will improve everyone’s festival experience.

 

!!Music Midtown Events
 

!!Creative Loafing Stories About Music Midtown
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2021 LINEUP: 




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  string(2415) "Directed and filmed by visual artist Vann Johnson, the music video for “Llycra” acts as the perfect closer for Wieuca’s upcoming third album, Burning Platform, to be released on October 1 via Land of the Freak Recordings.



“The track focuses on romanticising the past, misremembering a broken relationship as perfect, and hanging onto unhealthy attachments because it’s easier than letting them go,” Wieuca front person and local artist Will Ingram says.

The foursome has been seamlessly blending genres and art forms since its origin in 2012. Led by Ingram (Land of the Freak) with band members Rob Smith, Jack O'Reilly, and Jack Webster, Wieuca always has something unique to show with each release. This Claymation collab with Johnson offers a visual to “Llycra” and its mind-bending instrumentation and lyricism that can make every 20-something-year-old creative with a day job feel less alone.

Johnson says, “I’ve been goofing off with these guys for years now, so it was cool to do something semi-serious and creative with the band. I think our visual styles blend well which makes the collaboration process flow naturally.”

The Georgia-based videographer says he’s been doing Claymation since middle school. This project was a cathartic experience. “To apply this creative medium that I had so much fun with as a kid to music that is some of my favorite to ever come out of Georgia just feels right.”

The intro and outro voiceovers featuring guitarist Jack O'Reilly set the tone, leading into Ingram’s vocals “had a world now locked away, while I burn at the factory.” Ingram’s consistent ability to combine trippy metaphors with reality in his lyrics shines through once again on this new track. The Wieuca-esque Claymation figures layered with the constant change in the background and featured art form a loud visual representation of the sludgy, pop-infused trip hop sound we hear in “Llycra.”

The next show for the four-piece is this Saturday, Sept. 25, at Southern Brewing Company in Athens, GA at Aubrey Entertainment’s September Days Festival. Wieuca’s Burning Platform album release show is October 2nd at The EARL with the Minks, Shantih Shantih and Password:Password.

Social Links

Website: wieucamusic.com

Bandcamp: wieuca.bandcamp.com

Facebook: @wieucaband

Instagram: @wieucallc

SoundCloud: @wieuca

 

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  string(2878) "Directed and filmed by [https://vannjohnson.online/|~~#1155cc:visual artist Vann Johnson~~], the music video for “Llycra” acts as the perfect closer for Wieuca’s upcoming third album, ''Burning Platform'', to be released on October 1 via [https://landofthefreak.bandcamp.com/|~~#1155cc:Land of the Freak Recordings.~~]

~~#1155cc:{youtube movie="https://www.youtube.com/watch?v=LZhe7p0pcHs"}~~

“The track focuses on romanticising the past, misremembering a broken relationship as perfect, and hanging onto unhealthy attachments because it’s easier than letting them go,” Wieuca front person and local artist Will Ingram says.

The foursome has been seamlessly blending genres and art forms since its origin in 2012. Led by Ingram (Land of the Freak) with band members Rob Smith, Jack O'Reilly, and Jack Webster, Wieuca always has something unique to show with each release. This Claymation collab with Johnson offers a visual to “Llycra” and its mind-bending instrumentation and lyricism that can make every 20-something-year-old creative with a day job feel less alone.

Johnson says, “I’ve been goofing off with these guys for years now, so it was cool to do something semi-serious and creative with the band. I think our visual styles blend well which makes the collaboration process flow naturally.”

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The next show for the four-piece is this Saturday, Sept. 25, at Southern Brewing Company in Athens, GA at Aubrey Entertainment’s September Days Festival. Wieuca’s ''Burning Platform'' album release show is [https://www.freshtix.com/events/minks-the-earl|~~#1155cc:October 2nd at The EARL~~] with the Minks, Shantih Shantih and Password:Password.

Social Links

Website: [https://wieucamusic.com/|~~#1155cc:wieucamusic.com~~]

Bandcamp: [https://wieuca.bandcamp.com/|~~#1155cc:wieuca.bandcamp.com~~]

Facebook: [https://www.facebook.com/wieucaband/|~~#1155cc:@wieucaband~~]

Instagram: [https://www.instagram.com/wieucallc/|~~#1155cc:@wieucallc~~]

SoundCloud: [https://soundcloud.com/wieuca|~~#1155cc:@wieuca~~]

 

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  string(2977) " Wieuca4 Photo Credit Jack Arnold  2021-09-23T19:16:54+00:00 wieuca4_photo-credit_Jack_Arnold.jpg     wieuca llycra Local foursome release precurser to upcoming LP set for October Wieuca4 Photo Credit Jack Arnold   2021-09-24T14:00:00+00:00  NEW ATLANTA MUSIC: Wieuca release 'Llycra' jessica.goodson Jess Goodson Jess Goodson jessicasjgoodson (Jess Goodson) 2021-09-24T14:00:00+00:00 Directed and filmed by visual artist Vann Johnson, the music video for “Llycra” acts as the perfect closer for Wieuca’s upcoming third album, Burning Platform, to be released on October 1 via Land of the Freak Recordings.



“The track focuses on romanticising the past, misremembering a broken relationship as perfect, and hanging onto unhealthy attachments because it’s easier than letting them go,” Wieuca front person and local artist Will Ingram says.

The foursome has been seamlessly blending genres and art forms since its origin in 2012. Led by Ingram (Land of the Freak) with band members Rob Smith, Jack O'Reilly, and Jack Webster, Wieuca always has something unique to show with each release. This Claymation collab with Johnson offers a visual to “Llycra” and its mind-bending instrumentation and lyricism that can make every 20-something-year-old creative with a day job feel less alone.

Johnson says, “I’ve been goofing off with these guys for years now, so it was cool to do something semi-serious and creative with the band. I think our visual styles blend well which makes the collaboration process flow naturally.”

The Georgia-based videographer says he’s been doing Claymation since middle school. This project was a cathartic experience. “To apply this creative medium that I had so much fun with as a kid to music that is some of my favorite to ever come out of Georgia just feels right.”

The intro and outro voiceovers featuring guitarist Jack O'Reilly set the tone, leading into Ingram’s vocals “had a world now locked away, while I burn at the factory.” Ingram’s consistent ability to combine trippy metaphors with reality in his lyrics shines through once again on this new track. The Wieuca-esque Claymation figures layered with the constant change in the background and featured art form a loud visual representation of the sludgy, pop-infused trip hop sound we hear in “Llycra.”

The next show for the four-piece is this Saturday, Sept. 25, at Southern Brewing Company in Athens, GA at Aubrey Entertainment’s September Days Festival. Wieuca’s Burning Platform album release show is October 2nd at The EARL with the Minks, Shantih Shantih and Password:Password.

Social Links

Website: wieucamusic.com

Bandcamp: wieuca.bandcamp.com

Facebook: @wieucaband

Instagram: @wieucallc

SoundCloud: @wieuca

 

     JACK ARNOLD WIEUCA: (L-R) JACK WEBSTER, WILL INGRAM, JACK O'REILLY, ROB SMITH  0,0,1    Wieuca Llycra                       NEW ATLANTA MUSIC: Wieuca release 'Llycra' "
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  string(4444) "The leaves are barely turning, and already Atlanta breweries are rolling out the kegs for Oktoberfest. While the celebration "officially" runs from Sept. 17 to Oct. 3, that doesn't mean you can't knock back a few of your winter favorites between now and, uhm, maybe the end of October or into November.

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You can also celebrate Oktoberfest at Red’s Beer Garden in Grant Park now through September 27 featuring all kinds of special deals like German-style cheddarwurst, sausages, pretzels and beer cheese dip, along with their extensive beer menu including a selection of Oktoberfest Marzens.

Join the Westside’s Round Trip Brewing Company for a week of Oktoberfest events, starting now through Sunday Oct. 3, including live music, sausage eating contests, small dog races, and German food and brews. Check out our Round Trip podcast!

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration now through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our Tucker Brewing podcast!

Hapeville’s Arches Brewing celebrates Oktoberfest and their 5 Anniversary from Friday Oct. 1 through Saturday Oct. 2 with a special bottle release of their new Barrel-Aged Imperial Stout and food from Pat’s Poutine. Saturday’s activities include a costume contest with pets included. Check out our Arches podcast!

Horned Owl Brewing in Kennesaw will celebrate Oktoberfest Oct. 1-3 featuring authentic German pub grub, live music, stein hoist competitions, and of course, plenty of new beers like a German Festbier, Munich Dunkel Lager, Graham Cracker Porter, and a Vienna Lager.

Duluth’s Good Word Brewing celebrates their fourth annual Oktoberfest on Saturday, Oct. 2 from noon to 5 p.m. with two new canned beers — Good Word Drink Time, a Marzen-style lager, and Good Word Retrocausality, a Festbier. Purchase a branded Oktoberfest liter mug for $25 that includes your first draft pour. They are also featuring a traditional-style German menu alone with their usual full menu.

Eventide Brewing in Grant Park celebrates their third annual Oktoberfest Saturday, Oct. 2 from 2-9 p.m. with SEVEN German-style beers and a chance to win free beer for a year! VIP tickets include a liter stein (with unlimited draft pours), an Oktoberfest t-shirt, a six-pack of Festbier, and access to their VIP-only Barrel-Aged Weizenbock. Check out our Eventide podcast!

Kennesaw’s first-ever Oktoberfest Beer Festival also takes place on Saturday, Oct. 2 at The Nest Kennesaw with all proceeds going to Bottleshare, which provides programs and services to the craft beer industry.

Line Creek Brewing Company in Peachtree City celebrates Oktoberfest on Saturday, Oct. 2 from noon to 11 p.m. featuring a great selection of German brews, German street-food and music, and they’ll have special steins for sale as well. Check out our Line Creek podcast!

Celebrate Oktoberfest in Suwanee at StillFire Brewing Oct. 2-3 featuring traditional German food and music and FIVE brand-new authentic German beers including Marzen, Doppelbock, Hefeweizen, Dunkelweizenbock, and German Chocolate Cake Sticke Altbier. Check out our StillFire podcast!

Marietta’s Schoolhouse Brewing celebrates their second annual Oktoberfest party on Saturday, Oct. 9. They’ll have live music from Auf Gehts as well as this year’s Marzen. Free to attend!

The Westside’s Fire Maker Brewing Company celebrates their Second Annual Oktoberfest Celebration all day Saturday, Oct. 16 featuring German beers, Oktoberfest-themed food, and live music. Check out our Fire Maker podcast!

Marietta’s Glover Park Brewery celebrates the return of their traditional Oktoberfest Marzen called HolySchnitzel, loaded with Munich malts. Check out our Glover Park podcast!

Lawrenceville’s Ironshield Brewing is now pouring their Oktoberfest Bavarian Lager. Check out our Ironshield podcast!

Alpharetta’s Jekyll Brewing just released a new German-style Hefeweizen beer with banana and spicy clove notes with a soft, wheat body."
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__Oktoberfest Atlanta 2021__ happens this year at the Old Fourth Ward Skate Park now through Sunday, September 26. Single-day, four-day, and 5K passes are available. All passes include a souvenir 22 oz beer stein, and your first pour. They’ll also feature German food, German music, and an abundance of games and Oktoberfest-themed activities.

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Join the Westside’s __[https://roundtripbrewing.com/|Round Trip Brewing Company]__ for a week of Oktoberfest events, starting now through Sunday Oct. 3, including live music, sausage eating contests, small dog races, and German food and brews. Check out our [https://creativeloafing.com/content-479366|Round Trip podcast]!

__[https://tuckerbrewing.com/|Tucker Brewing Company]__ celebrates their fourth annual Tucktoberfest celebration now through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our [https://creativeloafing.com/content-469494|Tucker Brewing podcast]!

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Marietta’s __[https://www.schoolhousebeer.com/|Schoolhouse Brewing]__ celebrates their second annual Oktoberfest party on Saturday, Oct. 9. They’ll have live music from Auf Gehts as well as this year’s Marzen. Free to attend!

The Westside’s __[https://www.firemakerbeer.com/|Fire Maker Brewing Company]__ celebrates their Second Annual Oktoberfest Celebration all day Saturday, Oct. 16 featuring German beers, Oktoberfest-themed food, and live music. Check out our [https://creativeloafing.com/content-476419|Fire Maker podcast]!

Marietta’s __[https://gloverparkbrewery.com/|Glover Park Brewery]__ celebrates the return of their traditional Oktoberfest Marzen called HolySchnitzel, loaded with Munich malts. Check out our [https://creativeloafing.com/content-470305|Glover Park podcast]!

Lawrenceville’s __[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ is now pouring their Oktoberfest Bavarian Lager. Check out our [https://creativeloafing.com/content-477448|Ironshield podcast]!

Alpharetta’s __[https://www.jekyllbrewing.com/|Jekyll Brewing]__ just released a new German-style Hefeweizen beer with banana and spicy clove notes with a soft, wheat body."
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  string(5000) " #OKT  2021-09-24T18:41:32+00:00 #OKT.png     beer atlantabreweries It may be September, but that doesn't mean it's not Oktoberfest #OKT   2021-09-24T17:39:07+00:00  ON TAP: Oktoberfest is now tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-09-24T17:39:07+00:00 The leaves are barely turning, and already Atlanta breweries are rolling out the kegs for Oktoberfest. While the celebration "officially" runs from Sept. 17 to Oct. 3, that doesn't mean you can't knock back a few of your winter favorites between now and, uhm, maybe the end of October or into November.

Oktoberfest Atlanta 2021 happens this year at the Old Fourth Ward Skate Park now through Sunday, September 26. Single-day, four-day, and 5K passes are available. All passes include a souvenir 22 oz beer stein, and your first pour. They’ll also feature German food, German music, and an abundance of games and Oktoberfest-themed activities.

You can also celebrate Oktoberfest at Red’s Beer Garden in Grant Park now through September 27 featuring all kinds of special deals like German-style cheddarwurst, sausages, pretzels and beer cheese dip, along with their extensive beer menu including a selection of Oktoberfest Marzens.

Join the Westside’s Round Trip Brewing Company for a week of Oktoberfest events, starting now through Sunday Oct. 3, including live music, sausage eating contests, small dog races, and German food and brews. Check out our Round Trip podcast!

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration now through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our Tucker Brewing podcast!

Hapeville’s Arches Brewing celebrates Oktoberfest and their 5 Anniversary from Friday Oct. 1 through Saturday Oct. 2 with a special bottle release of their new Barrel-Aged Imperial Stout and food from Pat’s Poutine. Saturday’s activities include a costume contest with pets included. Check out our Arches podcast!

Horned Owl Brewing in Kennesaw will celebrate Oktoberfest Oct. 1-3 featuring authentic German pub grub, live music, stein hoist competitions, and of course, plenty of new beers like a German Festbier, Munich Dunkel Lager, Graham Cracker Porter, and a Vienna Lager.

Duluth’s Good Word Brewing celebrates their fourth annual Oktoberfest on Saturday, Oct. 2 from noon to 5 p.m. with two new canned beers — Good Word Drink Time, a Marzen-style lager, and Good Word Retrocausality, a Festbier. Purchase a branded Oktoberfest liter mug for $25 that includes your first draft pour. They are also featuring a traditional-style German menu alone with their usual full menu.

Eventide Brewing in Grant Park celebrates their third annual Oktoberfest Saturday, Oct. 2 from 2-9 p.m. with SEVEN German-style beers and a chance to win free beer for a year! VIP tickets include a liter stein (with unlimited draft pours), an Oktoberfest t-shirt, a six-pack of Festbier, and access to their VIP-only Barrel-Aged Weizenbock. Check out our Eventide podcast!

Kennesaw’s first-ever Oktoberfest Beer Festival also takes place on Saturday, Oct. 2 at The Nest Kennesaw with all proceeds going to Bottleshare, which provides programs and services to the craft beer industry.

Line Creek Brewing Company in Peachtree City celebrates Oktoberfest on Saturday, Oct. 2 from noon to 11 p.m. featuring a great selection of German brews, German street-food and music, and they’ll have special steins for sale as well. Check out our Line Creek podcast!

Celebrate Oktoberfest in Suwanee at StillFire Brewing Oct. 2-3 featuring traditional German food and music and FIVE brand-new authentic German beers including Marzen, Doppelbock, Hefeweizen, Dunkelweizenbock, and German Chocolate Cake Sticke Altbier. Check out our StillFire podcast!

Marietta’s Schoolhouse Brewing celebrates their second annual Oktoberfest party on Saturday, Oct. 9. They’ll have live music from Auf Gehts as well as this year’s Marzen. Free to attend!

The Westside’s Fire Maker Brewing Company celebrates their Second Annual Oktoberfest Celebration all day Saturday, Oct. 16 featuring German beers, Oktoberfest-themed food, and live music. Check out our Fire Maker podcast!

Marietta’s Glover Park Brewery celebrates the return of their traditional Oktoberfest Marzen called HolySchnitzel, loaded with Munich malts. Check out our Glover Park podcast!

Lawrenceville’s Ironshield Brewing is now pouring their Oktoberfest Bavarian Lager. Check out our Ironshield podcast!

Alpharetta’s Jekyll Brewing just released a new German-style Hefeweizen beer with banana and spicy clove notes with a soft, wheat body.    IRONSHIELD BREWING NOW POURING: Like Lawrenceville's Ironshield Brewing, local breweries have on tap and in bottles and cans a variety of seasonal beers available for Oktoberfest.  0,0,18    beer Atlantabreweries                       ON TAP: Oktoberfest is now "
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Eventide Brewing in Grant Park celebrates their third annual Oktoberfest Sat., Oct. 2, from 2-9 p.m. with SEVEN German-style beers and a chance to win free beer for a year! VIP tickets include a liter stein (with unlimited draft pours), an Oktoberfest t-shirt, a six-pack of Festbier, and access to their VIP only Barrel-Aged Weizenbock. Check out our Eventide podcast!

Kennesaw’s first-ever Oktoberfest Beer Festival also takes place Sat., Oct. 2, at The Nest Kennesaw, with all proceeds going to Bottleshare, which provides programs and services to those in the the craft beer industry.

Hapeville’s Arches Brewing celebrates Oktoberfest and their fifth anniversary Friday and Saturday, Oct. 1and 2, with a special bottle release of their new Barrel-Aged Imperial Stout and food from Pat’s Poutine. Saturday’s activities include a costume contest for humans and pets. Check out our Arches podcast!

The Westside’s Fire Maker Brewing Company celebrates their Second Annual Oktoberfest Celebration all day Sat., Oct. 16, featuring German beers, Oktoberfest-themed food, and live music. Check out our Fire Maker podcast!

Marietta’s Glover Park Brewery celebrates the return of their traditional Oktoberfest Marzen called Holy Schnitzel, loaded with Munich malts. Check out our Glover Park podcast!

Horned Owl Brewing in Kennesaw will celebrate Oktoberfest Oct. 1-3 featuring authentic German pub grub, live music, stein hoist competitions, and of course, plenty of new beers like a German Festbier, Munich Dunkel Lager, Graham Cracker Porter, and a Vienna Lager.

Lawrenceville’s Ironshield Brewing is now pouring their Oktoberfest Bavarian Lager. Check out our Ironshield podcast!

Line Creek Brewing Company in Peachtree City celebrates Oktoberfest on Sat., Oct. 2 from noon to 11 p.m. featuring a great selection of German brews, German street-food and music, and they’ll have special steins for sale as well. Check out our Line Creek podcast!

Join the Westside’s Round Trip Brewing Company for a week of Oktoberfest events, starting Fri., Sep. 24 through Sunday Oct. 3, including live music, sausage eating contests, small dog races, and German food and brews. Check out our Round Trip podcast!

Marietta’s Schoolhouse Brewing celebrates their second annual Oktoberfest party on Sat., Oct. 9. They’ll have live music from Auf Gehts as well as this year’s Marzen. Free to attend!

Celebrate Oktoberfest in Suwanee at StillFire Brewing Oct. 2-3 featuring traditional German food and music and FIVE brand-new authentic German beers including Marzen, Doppelbock, Hefeweizen, Dunkelweizenbock, and German Chocolate Cake Sticke Altbier. Check out our StillFire podcast!

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration Sep. 18 through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our Tucker Brewing podcast!"
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__[https://www.eventidebrewing.com/|Eventide Brewing]__ in Grant Park celebrates their third annual Oktoberfest Sat., Oct. 2, from 2-9 p.m. with SEVEN German-style beers and a chance to win free beer for a year! VIP tickets include a liter stein (with unlimited draft pours), an Oktoberfest t-shirt, a six-pack of Festbier, and access to their VIP only Barrel-Aged Weizenbock. Check out our [https://creativeloafing.com/content-468597|Eventide podcast]!

Kennesaw’s first-ever __Oktoberfest Beer Festival__ also takes place Sat., Oct. 2, at The Nest Kennesaw, with all proceeds going to Bottleshare, which provides programs and services to those in the the craft beer industry.

Hapeville’s __[https://www.archesbrewing.com/|Arches Brewing]__ celebrates Oktoberfest and their fifth anniversary Friday and Saturday, Oct. 1and 2, with a special bottle release of their new Barrel-Aged Imperial Stout and food from Pat’s Poutine. Saturday’s activities include a costume contest for humans and pets. Check out our [https://creativeloafing.com/content-468107|Arches podcast]!

The Westside’s __[https://www.firemakerbeer.com/|Fire Maker Brewing Company]__ celebrates their Second Annual Oktoberfest Celebration all day Sat., Oct. 16, featuring German beers, Oktoberfest-themed food, and live music. Check out our [https://creativeloafing.com/content-476419|Fire Maker podcast]!

Marietta’s __[https://gloverparkbrewery.com/|Glover Park Brewery]__ celebrates the return of their traditional Oktoberfest Marzen called Holy Schnitzel, loaded with Munich malts. Check out our [https://creativeloafing.com/content-470305|Glover Park podcast]!

__[https://www.hornedowlbrewing.com/|Horned Owl Brewing]__ in Kennesaw will celebrate Oktoberfest Oct. 1-3 featuring authentic German pub grub, live music, stein hoist competitions, and of course, plenty of new beers like a German Festbier, Munich Dunkel Lager, Graham Cracker Porter, and a Vienna Lager.

Lawrenceville’s __[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ is now pouring their Oktoberfest Bavarian Lager. Check out our [https://creativeloafing.com/content-477448|Ironshield podcast]!

__[https://linecreekbrewing.com/|Line Creek Brewing Company]__ in Peachtree City celebrates Oktoberfest on Sat., Oct. 2 from noon to 11 p.m. featuring a great selection of German brews, German street-food and music, and they’ll have special steins for sale as well. Check out our [https://creativeloafing.com/content-489089|Line Creek podcast]!

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__[https://tuckerbrewing.com/|Tucker Brewing Company]__ celebrates their fourth annual Tucktoberfest celebration Sep. 18 through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our [https://creativeloafing.com/content-469494|Tucker Brewing podcast]!"
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  string(3883) " Nolen Edit  2021-09-28T16:08:20+00:00 Nolen edit.jpeg      Oktoberfest kicks into high gear for October Nolen Edit   2021-09-28T16:00:07+00:00  ON TAP: Oktoberfest continues in the ATL and beyond tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-09-28T16:00:07+00:00 Duluth’s Good Word Brewing celebrates their fourth annual Oktoberfest, Sat., Oct. 2, from noon to 5 p.m. with two new canned beers — Good Word Drink Time, a Marzen-style lager; and Good Word Retrocausality, a Festbier. Purchase a branded Oktoberfest liter mug for $25 and your first draft pour is included. Good Word is also featuring a traditional-style German menu along with their usual full menu.

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Marietta’s Glover Park Brewery celebrates the return of their traditional Oktoberfest Marzen called Holy Schnitzel, loaded with Munich malts. Check out our Glover Park podcast!

Horned Owl Brewing in Kennesaw will celebrate Oktoberfest Oct. 1-3 featuring authentic German pub grub, live music, stein hoist competitions, and of course, plenty of new beers like a German Festbier, Munich Dunkel Lager, Graham Cracker Porter, and a Vienna Lager.

Lawrenceville’s Ironshield Brewing is now pouring their Oktoberfest Bavarian Lager. Check out our Ironshield podcast!

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Join the Westside’s Round Trip Brewing Company for a week of Oktoberfest events, starting Fri., Sep. 24 through Sunday Oct. 3, including live music, sausage eating contests, small dog races, and German food and brews. Check out our Round Trip podcast!

Marietta’s Schoolhouse Brewing celebrates their second annual Oktoberfest party on Sat., Oct. 9. They’ll have live music from Auf Gehts as well as this year’s Marzen. Free to attend!

Celebrate Oktoberfest in Suwanee at StillFire Brewing Oct. 2-3 featuring traditional German food and music and FIVE brand-new authentic German beers including Marzen, Doppelbock, Hefeweizen, Dunkelweizenbock, and German Chocolate Cake Sticke Altbier. Check out our StillFire podcast!

Tucker Brewing Company celebrates their fourth annual Tucktoberfest celebration Sep. 18 through Oct. 3 featuring beer in steins, German eats, giant pretzels, games, polka bands, craft vendors and more! Check out our Tucker Brewing podcast!    Tony Paris FAMILY FUN: Nolan Bennett performs at Round Trip Brewing Company during the brewery's Oktoberfest event Saturday, Sep. 25.  0,0,18                           ON TAP: Oktoberfest continues in the ATL and beyond "
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