Joshua Robinson

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  string(33) "Joshua Robinson's picks for March"
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  string(6294) "!!Thurs., Mar. 10

Charlotte Day Wilson, The Loft — Whether you first heard of Charlotte Day Wilson from the sample of her 2019 track “Mountains” on Drake’s Certified Lover Boy cut “Fair Trade,” or from her impressive 2021 debut album Alpha, you’ve already had a glimpse of the singer, songwriter, and producer’s incredible talents. This month, you’ll be able to form an even deeper appreciation for the Canadian artist because she’ll be stopping by the Loft on March 10 for the seventh stop of her Alpha Tour. A majority of her other tour dates have already sold out, so secure your tickets as soon as possible. — Joshua Robinson
$25-$75+. Thurs., Mar. 10. 8:00 p.m. The Loft, 1374 W Peachtree St NW, Atlanta, 30309. www.centerstage-atlanta.com @centerstageatl

!!Thurs., Mar. 17

Doja Cat, Tabernacle — Canceled.

!!Sun., Mar. 20
 


Baby Keem, Tabernacle — Starting March 7, Baby Keem is taking his phenomenal debut album, The Melodic Blue, on tour across North America. Although the two guest features he received from his cousin Kendrick Lamar helped build hype for his debut, Keem is embarking on 30-date tour — 22 of which have already managed to sell out — all on his own. In a matter of weeks, the GRAMMY-nominated artist will be performing in front of a sold-out crowd at the Tabernacle, and fortunately, the resell tickets are modestly priced, giving all of his local listeners the opportunity to see the young protege live for the first time — Joshua Robinson

$54-$205+. 8:00 p.m. The Tabernacle, 152 Luckie St NW, Atlanta, 30303. tabernacleatl.com @tabernacleatl

!!Fri., Mar. 25

Maxo Kream, Aisle 5 — Last fall, Maxo Kream and Tyler, The Creator teamed up for the booming single “BIG PERSONA,” and in an unlikely turn of events, both artists will be hitting Atlanta — albeit at two separate venues — on March 25. When he arrives in Little Five Points later this month, Maxo Kream will be roughly halfway through his Big Persona Tour, and with the help of his openers Peso Peso, Lul Bub, and Li Heat, the Houston native will be bringing his introspective brand of street rap to the intimate setting of Aisle 5. Maxo Kream’s latest album, WEIGHT OF THE WORLD, was one of the most refreshing hip-hop records of 2021, and although attendees will likely go without seeing Tyler and Maxo unite on stage for an exciting performance of “BIG PERSONA,” his Aisle 5 show should be impressive nevertheless. — Joshua Robinson
$25. 8:30 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl

Tyler, The Creator, Gas South District — A year after winning the GRAMMY for Best Rap Album in 2020 for his pop-leaning fifth studio album Igor, Tyler, The Creator released Call Me If You Get Lost, a rap-heavy record worthy of that distinction. The unlikely superstar’s latest albumis filled with hard-hitting tracks like “Lumberjack,” “Corso,” and “Juggernaut,” and this month, his Atlanta-based fans will get the chance to hear some of the record’s biggest smashes in person. Joining Tyler, The Creator on tour are Kali Uchis, Vince Staples, and Teezo Touchdown. Attendees are in for a compelling mix of rap, pop, R&B, and rock. — Joshua Robinson
$49.50-$149.50. 7:00 p.m. Gas South District, 6400 Sugarloaf Pkwy, Duluth, 30097. gassouthdistrict.com @GasSouthDistrict

!!Fri., Apr. 1

Jacquees, Tabernacle — Canceled.


Tkay Maidza, Aisle 5 — Apart from Iggy Azalea and The Kid LAROI, you’d be hard-pressed to name a globally known rapper from Australia, let alone a Black one, but the sensational Zimbabwean-born Tkay Maidza is quickly shaping up to be one of the most important acts to come out from the land down under. From 2018 to 2021, Tkay Maidza pumped out her creative Last Year Was Weird project series, with her output strong enough to land her an opening spot for the Atlanta, Charlotte, Pittsburgh, and Washington D.C. stops on Billie Eillish’s Happier Than Ever World Tour last month. This exciting rising artist is set to return to the A for her headlining Last Year Was Weird Tour. Be sure to see her in the intimate confines of a small club while you still can when she plays at Aisle 5. — Joshua Robinson

$15. 7:00 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl

Rick Ross, Jeezy, T.I., Gucci Mane, State Farm Arena — Two years ago, if hip-hop enthusiasts had heard that longtime nemeses Jeezy and Gucci Mane would be teaming up for a star-studded Atlanta concert, they would have assumed that some local promoter was playing a cruel April Fool’s Day joke on the city. However, following their reconciliation during their popular Verzuz match in 2020, Gucci Mane and Jeezy are in fact joining fellow hip-hop legends Rick Ross, T.I., Trina, and DJ Drama for the highly anticipated Legendz of the Streetz Tour on April 1. With so many beloved acts on one bill, the show is practically a Southern rap fans’ ultimate delight, so if you sleep on the Legendz of the Streetz Tour, the joke is on you. — Joshua Robinson
$65-$450+. 7:00 p.m. State Farm Arena, 1 State Farm Dr, Atlanta, 30303. statefarmarena.com @masquerade_atl

!!Mon., Apr. 4
 


Lucky Daye, Center Stage — A release date for Lucky Daye’s sophomore studio album CandyDrip has not yet been revealed, but one thing is for sure — the New Orleans native is hitting the road this spring in support of the forthcoming record. While listeners likely have their fingers crossed that CandyDrip will drop before Lucky Daye hits the city, the talented R&B artist still has plenty of music that he has yet to tour, including his 2021 Valentine’s Day duets EP Table For Two. The Atlanta stop of the CandyDrip Tour actually takes place the night after the 64th Annual GRAMMY Awards, so if Lucky Daye ends up winning Best Traditional R&B Performance for “How Much Can A Heart Take” or Best Progressive R&B Album for Table For Two, concert attendees will be in for a celebratory evening like no other. The show is already sold out, but resell tickets are definitely worth it. — Joshua Robinson

$200-$343+. 7:00 p.m. Center Stage, 50 Lower Alabama Street #110, Atlanta, 30303. masqueradeatlanta.com @masquerade_atl"
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  string(6734) "!!Thurs., Mar. 10

__Charlotte Day Wilson, The Loft — __Whether you first heard of Charlotte Day Wilson from the sample of her 2019 track “Mountains” on Drake’s ''Certified Lover Boy'' cut “Fair Trade,” or from her impressive 2021 debut album ''Alpha'', you’ve already had a glimpse of the singer, songwriter, and producer’s incredible talents. This month, you’ll be able to form an even deeper appreciation for the Canadian artist because she’ll be stopping by the Loft on March 10 for the seventh stop of her Alpha Tour. A majority of her other tour dates have already sold out, so secure your tickets as soon as possible. — Joshua Robinson
''$25-$75+. Thurs., Mar. 10. 8:00 p.m. The Loft, 1374 W Peachtree St NW, Atlanta, 30309. www.centerstage-atlanta.com @centerstageatl''

!!Thurs., Mar. 17

__Doja Cat, Tabernacle — __Canceled.

!!Sun., Mar. 20
 

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__Baby Keem, Tabernacle — __Starting March 7, Baby Keem is taking his phenomenal debut album, ''The Melodic Blue'', on tour across North America. Although the two guest features he received from his cousin Kendrick Lamar helped build hype for his debut, Keem is embarking on 30-date tour — 22 of which have already managed to sell out — all on his own. In a matter of weeks, the GRAMMY-nominated artist will be performing in front of a sold-out crowd at the Tabernacle, and fortunately, the resell tickets are modestly priced, giving all of his local listeners the opportunity to see the young protege live for the first time — Joshua Robinson

''$54-$205+. 8:00 p.m. The Tabernacle, 152 Luckie St NW, Atlanta, 30303. tabernacleatl.com @tabernacleatl''

!!Fri., Mar. 25

__Maxo Kream, Aisle 5 — __Last fall, Maxo Kream and Tyler, The Creator teamed up for the booming single “BIG PERSONA,” and in an unlikely turn of events, both artists will be hitting Atlanta — albeit at two separate venues — on March 25. When he arrives in Little Five Points later this month, Maxo Kream will be roughly halfway through his Big Persona Tour, and with the help of his openers Peso Peso, Lul Bub, and Li Heat, the Houston native will be bringing his introspective brand of street rap to the intimate setting of Aisle 5. Maxo Kream’s latest album, ''WEIGHT OF THE WORLD'', was one of the most refreshing hip-hop records of 2021, and although attendees will likely go without seeing Tyler and Maxo unite on stage for an exciting performance of “BIG PERSONA,” his Aisle 5 show should be impressive nevertheless. — Joshua Robinson
''$25. 8:30 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl''

__Tyler, The Creator, Gas South District — __A year after winning the GRAMMY for Best Rap Album in 2020 for his pop-leaning fifth studio album ''Igor'', Tyler, The Creator released ''Call Me If You Get Lost'', a rap-heavy record worthy of that distinction. The unlikely superstar’s latest albumis filled with hard-hitting tracks like “Lumberjack,” “Corso,” and “Juggernaut,” and this month, his Atlanta-based fans will get the chance to hear some of the record’s biggest smashes in person. Joining Tyler, The Creator on tour are Kali Uchis, Vince Staples, and Teezo Touchdown. Attendees are in for a compelling mix of rap, pop, R&B, and rock. — Joshua Robinson
''$49.50-$149.50. 7:00 p.m. Gas South District, 6400 Sugarloaf Pkwy, Duluth, 30097. gassouthdistrict.com @GasSouthDistrict''

!!Fri., Apr. 1

__Jacquees, Tabernacle — __Canceled.

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__Tkay Maidza, Aisle 5 — __Apart from Iggy Azalea and The Kid LAROI, you’d be hard-pressed to name a globally known rapper from Australia, let alone a Black one, but the sensational Zimbabwean-born Tkay Maidza is quickly shaping up to be one of the most important acts to come out from the land down under. From 2018 to 2021, Tkay Maidza pumped out her creative ''Last Year Was Weird'' project series, with her output strong enough to land her an opening spot for the Atlanta, Charlotte, Pittsburgh, and Washington D.C. stops on Billie Eillish’s Happier Than Ever World Tour last month. This exciting rising artist is set to return to the A for her headlining Last Year Was Weird Tour. Be sure to see her in the intimate confines of a small club while you still can when she plays at Aisle 5. — Joshua Robinson

''$15. 7:00 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl''

__Rick Ross, Jeezy, T.I., Gucci Mane, State Farm Arena — __Two years ago, if hip-hop enthusiasts had heard that longtime nemeses Jeezy and Gucci Mane would be teaming up for a star-studded Atlanta concert, they would have assumed that some local promoter was playing a cruel April Fool’s Day joke on the city. However, following their reconciliation during their popular Verzuz match in 2020, Gucci Mane and Jeezy are in fact joining fellow hip-hop legends Rick Ross, T.I., Trina, and DJ Drama for the highly anticipated Legendz of the Streetz Tour on April 1. With so many beloved acts on one bill, the show is practically a Southern rap fans’ ultimate delight, so if you sleep on the Legendz of the Streetz Tour, the joke is on you. — Joshua Robinson
''$65-$450+. 7:00 p.m. State Farm Arena, 1 State Farm Dr, Atlanta, 30303. statefarmarena.com @masquerade_atl''

!!Mon., Apr. 4
 

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__Lucky Daye, Center Stage — __A release date for Lucky Daye’s sophomore studio album ''CandyDrip'' has not yet been revealed, but one thing is for sure — the New Orleans native is hitting the road this spring in support of the forthcoming record. While listeners likely have their fingers crossed that ''CandyDrip'' will drop before Lucky Daye hits the city, the talented R&B artist still has plenty of music that he has yet to tour, including his 2021 Valentine’s Day duets EP ''Table For Two''. The Atlanta stop of the CandyDrip Tour actually takes place the night after the 64th Annual GRAMMY Awards, so if Lucky Daye ends up winning Best Traditional R&B Performance for “How Much Can A Heart Take” or Best Progressive R&B Album for ''Table For Two'', concert attendees will be in for a celebratory evening like no other. The show is already sold out, but resell tickets are definitely worth it. — Joshua Robinson

''$200-$343+. 7:00 p.m. Center Stage, 50 Lower Alabama Street #110, Atlanta, 30303. masqueradeatlanta.com @masquerade_atl''"
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  string(6775) " ATL Untrap BIG PERSONAS  2022-03-04T04:37:36+00:00 ATL_Untrap_BIG_PERSONAS.jpeg      Joshua Robinson's picks for March ATL Untrap BIG PERSONAS   2022-03-04T04:42:09+00:00  ATL UNTRAPPED: Where it's at jim.harris Jim Harris Joshua Robinson  2022-03-04T04:42:09+00:00 !!Thurs., Mar. 10

Charlotte Day Wilson, The Loft — Whether you first heard of Charlotte Day Wilson from the sample of her 2019 track “Mountains” on Drake’s Certified Lover Boy cut “Fair Trade,” or from her impressive 2021 debut album Alpha, you’ve already had a glimpse of the singer, songwriter, and producer’s incredible talents. This month, you’ll be able to form an even deeper appreciation for the Canadian artist because she’ll be stopping by the Loft on March 10 for the seventh stop of her Alpha Tour. A majority of her other tour dates have already sold out, so secure your tickets as soon as possible. — Joshua Robinson
$25-$75+. Thurs., Mar. 10. 8:00 p.m. The Loft, 1374 W Peachtree St NW, Atlanta, 30309. www.centerstage-atlanta.com @centerstageatl

!!Thurs., Mar. 17

Doja Cat, Tabernacle — Canceled.

!!Sun., Mar. 20
 


Baby Keem, Tabernacle — Starting March 7, Baby Keem is taking his phenomenal debut album, The Melodic Blue, on tour across North America. Although the two guest features he received from his cousin Kendrick Lamar helped build hype for his debut, Keem is embarking on 30-date tour — 22 of which have already managed to sell out — all on his own. In a matter of weeks, the GRAMMY-nominated artist will be performing in front of a sold-out crowd at the Tabernacle, and fortunately, the resell tickets are modestly priced, giving all of his local listeners the opportunity to see the young protege live for the first time — Joshua Robinson

$54-$205+. 8:00 p.m. The Tabernacle, 152 Luckie St NW, Atlanta, 30303. tabernacleatl.com @tabernacleatl

!!Fri., Mar. 25

Maxo Kream, Aisle 5 — Last fall, Maxo Kream and Tyler, The Creator teamed up for the booming single “BIG PERSONA,” and in an unlikely turn of events, both artists will be hitting Atlanta — albeit at two separate venues — on March 25. When he arrives in Little Five Points later this month, Maxo Kream will be roughly halfway through his Big Persona Tour, and with the help of his openers Peso Peso, Lul Bub, and Li Heat, the Houston native will be bringing his introspective brand of street rap to the intimate setting of Aisle 5. Maxo Kream’s latest album, WEIGHT OF THE WORLD, was one of the most refreshing hip-hop records of 2021, and although attendees will likely go without seeing Tyler and Maxo unite on stage for an exciting performance of “BIG PERSONA,” his Aisle 5 show should be impressive nevertheless. — Joshua Robinson
$25. 8:30 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl

Tyler, The Creator, Gas South District — A year after winning the GRAMMY for Best Rap Album in 2020 for his pop-leaning fifth studio album Igor, Tyler, The Creator released Call Me If You Get Lost, a rap-heavy record worthy of that distinction. The unlikely superstar’s latest albumis filled with hard-hitting tracks like “Lumberjack,” “Corso,” and “Juggernaut,” and this month, his Atlanta-based fans will get the chance to hear some of the record’s biggest smashes in person. Joining Tyler, The Creator on tour are Kali Uchis, Vince Staples, and Teezo Touchdown. Attendees are in for a compelling mix of rap, pop, R&B, and rock. — Joshua Robinson
$49.50-$149.50. 7:00 p.m. Gas South District, 6400 Sugarloaf Pkwy, Duluth, 30097. gassouthdistrict.com @GasSouthDistrict

!!Fri., Apr. 1

Jacquees, Tabernacle — Canceled.


Tkay Maidza, Aisle 5 — Apart from Iggy Azalea and The Kid LAROI, you’d be hard-pressed to name a globally known rapper from Australia, let alone a Black one, but the sensational Zimbabwean-born Tkay Maidza is quickly shaping up to be one of the most important acts to come out from the land down under. From 2018 to 2021, Tkay Maidza pumped out her creative Last Year Was Weird project series, with her output strong enough to land her an opening spot for the Atlanta, Charlotte, Pittsburgh, and Washington D.C. stops on Billie Eillish’s Happier Than Ever World Tour last month. This exciting rising artist is set to return to the A for her headlining Last Year Was Weird Tour. Be sure to see her in the intimate confines of a small club while you still can when she plays at Aisle 5. — Joshua Robinson

$15. 7:00 p.m. Aisle 5, 1123 Euclid Ave NE, Atlanta, 30307. aisle5atl.com/ @aisle5_atl

Rick Ross, Jeezy, T.I., Gucci Mane, State Farm Arena — Two years ago, if hip-hop enthusiasts had heard that longtime nemeses Jeezy and Gucci Mane would be teaming up for a star-studded Atlanta concert, they would have assumed that some local promoter was playing a cruel April Fool’s Day joke on the city. However, following their reconciliation during their popular Verzuz match in 2020, Gucci Mane and Jeezy are in fact joining fellow hip-hop legends Rick Ross, T.I., Trina, and DJ Drama for the highly anticipated Legendz of the Streetz Tour on April 1. With so many beloved acts on one bill, the show is practically a Southern rap fans’ ultimate delight, so if you sleep on the Legendz of the Streetz Tour, the joke is on you. — Joshua Robinson
$65-$450+. 7:00 p.m. State Farm Arena, 1 State Farm Dr, Atlanta, 30303. statefarmarena.com @masquerade_atl

!!Mon., Apr. 4
 


Lucky Daye, Center Stage — A release date for Lucky Daye’s sophomore studio album CandyDrip has not yet been revealed, but one thing is for sure — the New Orleans native is hitting the road this spring in support of the forthcoming record. While listeners likely have their fingers crossed that CandyDrip will drop before Lucky Daye hits the city, the talented R&B artist still has plenty of music that he has yet to tour, including his 2021 Valentine’s Day duets EP Table For Two. The Atlanta stop of the CandyDrip Tour actually takes place the night after the 64th Annual GRAMMY Awards, so if Lucky Daye ends up winning Best Traditional R&B Performance for “How Much Can A Heart Take” or Best Progressive R&B Album for Table For Two, concert attendees will be in for a celebratory evening like no other. The show is already sold out, but resell tickets are definitely worth it. — Joshua Robinson

$200-$343+. 7:00 p.m. Center Stage, 50 Lower Alabama Street #110, Atlanta, 30303. masqueradeatlanta.com @masquerade_atl    Justin Heron BIG PERSONAS: Tyler, The Creator (left) and Maxo Kream (right) are performing at Gas South District and Aisle 5, respectively, on March 25.                             ATL UNTRAPPED: Where it's at "
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  string(5745) "In 19th century poet and playwright Oscar Wilde’s often-cited essay, “The Decay of Lying,” the famous Irish writer argued that “life imitates art far more than art imitates life.” “Life holds the mirror up to art, and either reproduces some strange type imagined by painter or sculptor, or realizes in fact what has been dreamed in fiction,” Wilde wrote in 1891. “Life seizes on them and uses them, even if they be to her own hurt.”

Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, The Irreplaceable Now. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of The Irreplaceable Now’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for The Irreplaceable Now’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of The Irreplaceable Now.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on The Irreplaceable Now feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on The Irreplaceable Now, the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of The Irreplaceable Now.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. —CL—"
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Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, ''The Irreplaceable Now''. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of ''The Irreplaceable Now''’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for ''The Irreplaceable Now''’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of ''The Irreplaceable Now''.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on ''The Irreplaceable Now'' feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on ''The Irreplaceable Now'', the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of ''The Irreplaceable Now''.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. __—CL—__"
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  string(6241) " DEC Atl Untrap Pic Reduced Web  2021-12-09T16:23:11+00:00 DEC_Atl_Untrap_pic_reduced_web.jpg      The Atlanta-based recording artist’s life has imitated his art DEC Atl Untrap Pic Reduced Web   2021-12-03T16:21:00+00:00  ATL UNTRAPPED: DvDx’s Irreplaceable Now jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2021-12-03T16:21:00+00:00 In 19th century poet and playwright Oscar Wilde’s often-cited essay, “The Decay of Lying,” the famous Irish writer argued that “life imitates art far more than art imitates life.” “Life holds the mirror up to art, and either reproduces some strange type imagined by painter or sculptor, or realizes in fact what has been dreamed in fiction,” Wilde wrote in 1891. “Life seizes on them and uses them, even if they be to her own hurt.”

Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, The Irreplaceable Now. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of The Irreplaceable Now’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for The Irreplaceable Now’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of The Irreplaceable Now.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on The Irreplaceable Now feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on The Irreplaceable Now, the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of The Irreplaceable Now.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. —CL—    Bryan BBL NOTHING HERE: DvDx is back at square one.  0,0,10                           ATL UNTRAPPED: DvDx’s Irreplaceable Now "
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Slutty Vegan Jonesboro: 164 N McDonough St, Jonesboro, GA 30236

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  string(3366) "Kenny Mason, “Partments” (single) — An “ugh” and an “aye” reverberate over a bed of silence for a split second before the repetitive strumming of a guitar and a tight, trap drum pattern pull listeners into what first appears to be a new rap offering from West Atlanta’s Kenny Mason. This is “Partments,” the first musical release of 2021 by the alternative hip-hop artist, and it quickly proves to be anything but conventional. Halfway through its brief two-minute runtime, the song’s crisp production fades away as it devolves into a full-on acoustic rock ballad. Last summer on his debut album Angelic Hoodrat, Mason stunned listeners with his genre-blending tendencies on pop-rock standouts like “Handles” and “Metal Wings.” Now the rising artist delves deeper into that sound for a more balanced and seamless result, which cleverly complements the song’s titular subject matter. In the same way that “Partments” reveals another genre hidden behind the opening production, Mason gives listeners a run-down of life in a derelict apartment and explains how there’s more to it than meets the eye. He laments about his living conditions with surprising reverence, dropping lines like “This lil’ ‘partment water off today/This lil’ ‘partment more than what they say,” and “I can paint a portrait with these stains/I can make a fortune with my pain.” In “Partments,” Kenny Mason accepts that the root of his pain and the catalyst for his success can in fact stem from the same place, showcasing that the Westside artist’s perspective is just as expansive as his musical sensibility. ★★★☆☆

Cantrell, Beware the Sheep Clothing (album) — Cantrell’s latest EP, Beware the Sheep Clothing, forgoes the compelling introspection of his 2020 album So, What Now? to deliver a project that shines as a powerful nod to Black people, their culture, and the systemic struggles that they face. From the opening track “Hear Me Now,” the former Nas signee sets up the racially charged record by highlighting the cultural disparities present in America, dropping gems like “Takin’ all the sugar and season from our cupboard/We covered in dead bodies you covered in Warren Buffetts” and “We Trayvon, you McLovin/The world’s different when livin’ in our colors.” The EP’s intro then closes with an audio clip of Denzel Washington’s famous quote about sheep enacting violence against wolves, and from then on, Beware the Sheep Clothing expands upon its conceptual foundation. Woozy and hypnotic production soundtracks Cantrell’s robust lyricism and passionate social commentary, especially on standout cuts like “Ratchet & Righteous” and “This Time Around,” the latter of which finds the Albany-raised rapper channeling the unique perspectives of Malcolm X and Dr. Martin Luther King Jr. in each of his verses. Built upon a hook led by the tenacious line, “This time around shit different,” the song, like the rest of the project, focuses on combating the cyclical nature of racism and systemic oppression. Following a summer known for its Black Lives Matter protests, Cantrell’s Beware The Sheep Clothing is a timely rap effort that’s practically made for Black History Month, but what makes his latest EP so pressing is its dedication to a better future. ★★★★☆"
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{imagefloatright imageid="36370" wdthval="500px"}__Cantrell, ____''Beware the Sheep Clothing''__ (album) — Cantrell’s latest EP, ''Beware the Sheep Clothing'', forgoes the compelling introspection of his 2020 album ''So, What Now?'' to deliver a project that shines as a powerful nod to Black people, their culture, and the systemic struggles that they face. From the opening track “Hear Me Now,” the former Nas signee sets up the racially charged record by highlighting the cultural disparities present in America, dropping gems like “Takin’ all the sugar and season from our cupboard/We covered in dead bodies you covered in Warren Buffetts” and “We Trayvon, you McLovin/The world’s different when livin’ in our colors.” The EP’s intro then closes with an audio clip of Denzel Washington’s famous quote about sheep enacting violence against wolves, and from then on, ''Beware the Sheep Clothing'' expands upon its conceptual foundation. Woozy and hypnotic production soundtracks Cantrell’s robust lyricism and passionate social commentary, especially on standout cuts like “Ratchet & Righteous” and “This Time Around,” the latter of which finds the Albany-raised rapper channeling the unique perspectives of Malcolm X and Dr. Martin Luther King Jr. in each of his verses. Built upon a hook led by the tenacious line, “This time around shit different,” the song, like the rest of the project, focuses on combating the cyclical nature of racism and systemic oppression. Following a summer known for its Black Lives Matter protests, Cantrell’s ''Beware The Sheep Clothing'' is a timely rap effort that’s practically made for Black History Month, but what makes his latest EP so pressing is its dedication to a better future. ★★★★☆"
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  string(3748) " ATLUntrapped MAR2021  2021-03-02T18:45:04+00:00 ATLUntrapped_MAR2021.jpg     atluntrapped Kenny Mason and Cantrell ATLUntrapped MAR2021   2021-03-02T18:33:50+00:00  ATL UNTRAPPED: New music reviews jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2021-03-02T18:33:50+00:00 Kenny Mason, “Partments” (single) — An “ugh” and an “aye” reverberate over a bed of silence for a split second before the repetitive strumming of a guitar and a tight, trap drum pattern pull listeners into what first appears to be a new rap offering from West Atlanta’s Kenny Mason. This is “Partments,” the first musical release of 2021 by the alternative hip-hop artist, and it quickly proves to be anything but conventional. Halfway through its brief two-minute runtime, the song’s crisp production fades away as it devolves into a full-on acoustic rock ballad. Last summer on his debut album Angelic Hoodrat, Mason stunned listeners with his genre-blending tendencies on pop-rock standouts like “Handles” and “Metal Wings.” Now the rising artist delves deeper into that sound for a more balanced and seamless result, which cleverly complements the song’s titular subject matter. In the same way that “Partments” reveals another genre hidden behind the opening production, Mason gives listeners a run-down of life in a derelict apartment and explains how there’s more to it than meets the eye. He laments about his living conditions with surprising reverence, dropping lines like “This lil’ ‘partment water off today/This lil’ ‘partment more than what they say,” and “I can paint a portrait with these stains/I can make a fortune with my pain.” In “Partments,” Kenny Mason accepts that the root of his pain and the catalyst for his success can in fact stem from the same place, showcasing that the Westside artist’s perspective is just as expansive as his musical sensibility. ★★★☆☆

Cantrell, Beware the Sheep Clothing (album) — Cantrell’s latest EP, Beware the Sheep Clothing, forgoes the compelling introspection of his 2020 album So, What Now? to deliver a project that shines as a powerful nod to Black people, their culture, and the systemic struggles that they face. From the opening track “Hear Me Now,” the former Nas signee sets up the racially charged record by highlighting the cultural disparities present in America, dropping gems like “Takin’ all the sugar and season from our cupboard/We covered in dead bodies you covered in Warren Buffetts” and “We Trayvon, you McLovin/The world’s different when livin’ in our colors.” The EP’s intro then closes with an audio clip of Denzel Washington’s famous quote about sheep enacting violence against wolves, and from then on, Beware the Sheep Clothing expands upon its conceptual foundation. Woozy and hypnotic production soundtracks Cantrell’s robust lyricism and passionate social commentary, especially on standout cuts like “Ratchet & Righteous” and “This Time Around,” the latter of which finds the Albany-raised rapper channeling the unique perspectives of Malcolm X and Dr. Martin Luther King Jr. in each of his verses. Built upon a hook led by the tenacious line, “This time around shit different,” the song, like the rest of the project, focuses on combating the cyclical nature of racism and systemic oppression. Following a summer known for its Black Lives Matter protests, Cantrell’s Beware The Sheep Clothing is a timely rap effort that’s practically made for Black History Month, but what makes his latest EP so pressing is its dedication to a better future. ★★★★☆       0,0,10    atluntrapped                       ATL UNTRAPPED: New music reviews "
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  string(6823) "“Goodbye” — one word with no punctuation or further elaboration contextualized a photo of The Music Room in a mid-September Instagram post, featuring a close-up shot of the gathering place’s emblematic stereo-style decor. It quickly traveled through the social media channels of Atlanta’s local music scene as artists, DJs, and patrons alike spread the news of the club’s untimely closing. Although the post followed an extensive statement made by The Music Room two days earlier that explained in detail the heartbreaking circumstances that befell the venue, that photo of the Edgewood Avenue mainstay captioned with a mere “Goodbye” was the nail in the coffin. It represented the definitive end for a place that brought unforgettable music experiences to Edgewood — and Atlanta.

At the start of 2020, however, Keiran Neely — a veteran House DJ and one of the owners of the tri-concept complex that included The Music Room, Edgewood Speakeasy, and Bone Lick Southern Kitchen — had no clue that he would be closing the doors to his lifetime accomplishment. Like many, the England-to-Atlanta transplant started hearing rumblings about the coronavirus at the beginning of the year but didn’t think that the disease would make it to the United States, let alone ravage it. Yet, when it became clear that aggressive action would be needed to protect TMR performers, staff, and patrons, he and his business partner Mike LaSage paused their regular operations in March. 

“There was definitely a sense of disenchantment.” Neely recalls. “We thought that it was going to be short-lived and quickly resolved after a shut-down, and things would get back to normal. Obviously that didn’t happen. Fortunately, we had a full kitchen down here, so we transitioned from venue owners to producing our current pop-up situation.”

After business at The Music Room came to a screeching halt and both the Speakeasy and Bone Lick bowed out of the picture, Neely and LaSage created the SOS (Save Our Shop) Pop-up Kitchen in order to keep The Music Room afloat during the uncertainty this year brought. The socially distanced concept has been offering a limited, rotating takeout menu for pickup and delivery since March. Unfortunately, as restaurants slowly reopened and the need for takeout and delivery subsided as people became more comfortable with new COVID-19 safety guidelines, SOS’s proceeds were no longer robust enough to keep The Music Room alive.

“We didn’t have the resources to keep the landlord satisfied. He was super cool for as long as he could be, and I don’t judge him for asking us to leave,” Neely admits. “He found another tenant that was willing to pay full rent.”

Neely and LaSage tried to ease the financial strain of maintaining their lease by searching for a tenant who would be willing to take over the space upstairs, which originally housed both Bone Lick and Speakeasy. They eventually found one, but the unnamed tenant, who would eventually take over the lease, reportedly wanted to rent the entire space — both upstairs and downstairs. 

“At that point, we were left with two choices: “Do we continue to dig ourselves deeper into a hole, or do we walk away?” Neely says. “We would have tried to make it work by ourselves, spending money to keep the place with the doors closed, but we accepted that The Music Room is closed. The Music Room has been closed. And The Music Room is going to be closed. 

“What is the point of putting ourselves further into debt with a business that we can’t even operate for the near and distant future? I don’t want to bad-mouth the guy who came and took over the space and the lease because he has done nothing wrong. He got us out of a financial situation that we were stuck in, and we were given a chance to walk away cleanly with our heads held high.”

Though the reality of having to part ways with the Edgewood property still stings for Neely — who deems The Music Room the “crown jewel” of his career so far — the massive outpouring of support from locals on social media has helped patch up his wounds. Seeing fans across genres offer their condolences validated his and LaSage’s efforts to create an inclusive and welcoming environment for everyone who walked down The Music Room’s steps. He is grateful that the Room was able to go out on a high note.

The venue continues to receive praise in the afterlife, from its loyal House crowd and the city’s hip-hop community. Producer-songwriter AUDIADASOUND (of The Queendom), “Breakfast” rapper BOREGARD., artist manager and ONE Musicfest marketing coordinator Jarrett Smith, and CL Live From the Archives alumnus SOTA all enthusiastically commented on The Music Room’s significance to Atlanta’s hip-hop underground:

• “The Music Room was like a second home to us! From events thrown by the homies to some of our greatest performances, the times we had there will always be cherished.” — AUDIADASOUND

• “I remember winning an A3C contest and having an official A3C event of my own in that venue. It was one of the few places where you knew sound wouldn’t be a problem. The staff was very accommodating, and the vibes were infinite. The Music Room will live in my heart forever.” — BOREGARD.

• “The Music Room was one of those spots artists had to perform at to pay their dues early on. I can’t think of one of my favorite Atlanta artists that hasn’t played a show at TMR. From EarthGang to Cam The Artisan, Kenny Mason or NEDLOG — it was just somewhere you had to stop when coming up.”— Jarrett Smith

• “The energy The Music Room had was different. You walked down those stairs into a completely different world. It played a major part in the underground music scene in Atlanta.” — SOTA

The Music Room meant a lot to artists, DJs, promoters, music executives, and patrons from all corners of Atlanta’s diverse music scenes, but to Neely, who, alongside LaSage, made The Music Room the cultural behemoth that it was, it was a dream come true.

In a year plagued with loss, the city memorializes yet another tragic casualty of 2020. By taking the lives of our loved ones, the pandemic has brought anguish to Atlanta’s heart. By the Atlanta Police Department’s killing of Rayshard Brooks and assaulting peaceful protestors in our streets,  our city has lost its peace of mind. And, by signaling the end of an era for Edgewood Avenue — and the local music scene as a whole — with the closing of The Music Room, 2020 has now stolen an irreplaceable part of Atlanta’s soul. —CL—

Limited edition prints of the accompanying graphic, "Tribute to The Music Room," are currently available from the artist, Jesús H. Altamirano, on his website."
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At the start of 2020, however, Keiran Neely — a veteran House DJ and one of the owners of the tri-concept complex that included The Music Room, Edgewood Speakeasy, and Bone Lick Southern Kitchen — had no clue that he would be closing the doors to his lifetime accomplishment. Like many, the England-to-Atlanta transplant started hearing rumblings about the coronavirus at the beginning of the year but didn’t think that the disease would make it to the United States, let alone ravage it. Yet, when it became clear that aggressive action would be needed to protect TMR performers, staff, and patrons, he and his business partner Mike LaSage paused their regular operations in March. 

“There was definitely a sense of disenchantment.” Neely recalls. “We thought that it was going to be short-lived and quickly resolved after a shut-down, and things would get back to normal. Obviously that didn’t happen. Fortunately, we had a full kitchen down here, so we transitioned from venue owners to producing our current pop-up situation.”

After business at The Music Room came to a screeching halt and both the Speakeasy and Bone Lick bowed out of the picture, Neely and LaSage created the SOS (Save Our Shop) Pop-up Kitchen in order to keep The Music Room afloat during the uncertainty this year brought. The socially distanced concept has been offering a limited, rotating takeout menu for pickup and delivery since March. Unfortunately, as restaurants slowly reopened and the need for takeout and delivery subsided as people became more comfortable with new COVID-19 safety guidelines, SOS’s proceeds were no longer robust enough to keep The Music Room alive.

“We didn’t have the resources to keep the landlord satisfied. He was super cool for as long as he could be, and I don’t judge him for asking us to leave,” Neely admits. “He found another tenant that was willing to pay full rent.”

Neely and LaSage tried to ease the financial strain of maintaining their lease by searching for a tenant who would be willing to take over the space upstairs, which originally housed both Bone Lick and Speakeasy. They eventually found one, but the unnamed tenant, who would eventually take over the lease, reportedly wanted to rent the entire space — both upstairs and downstairs. 

“At that point, we were left with two choices: “Do we continue to dig ourselves deeper into a hole, or do we walk away?” Neely says. “We would have tried to make it work by ourselves, spending money to keep the place with the doors closed, but we accepted that The Music Room is closed. The Music Room has been closed. And The Music Room is going to be closed. 

“What is the point of putting ourselves further into debt with a business that we can’t even operate for the near and distant future? I don’t want to bad-mouth the guy who came and took over the space and the lease because he has done nothing wrong. He got us out of a financial situation that we were stuck in, and we were given a chance to walk away cleanly with our heads held high.”

Though the reality of having to part ways with the Edgewood property still stings for Neely — who deems The Music Room the “crown jewel” of his career so far — the massive outpouring of support from locals on social media has helped patch up his wounds. Seeing fans across genres offer their condolences validated his and LaSage’s efforts to create an inclusive and welcoming environment for everyone who walked down The Music Room’s steps. He is grateful that the Room was able to go out on a high note.

The venue continues to receive praise in the afterlife, from its loyal House crowd and the city’s hip-hop community. Producer-songwriter AUDIADASOUND (of The Queendom), “Breakfast” rapper BOREGARD., artist manager and ONE Musicfest marketing coordinator Jarrett Smith, and ''CL'' Live From the Archives alumnus SOTA all enthusiastically commented on The Music Room’s significance to Atlanta’s hip-hop underground:

__•__ “The Music Room was like a second home to us! From events thrown by the homies to some of our greatest performances, the times we had there will always be cherished.” — AUDIADASOUND

__•__ “I remember winning an A3C contest and having an official A3C event of my own in that venue. It was one of the few places where you knew sound wouldn’t be a problem. The staff was very accommodating, and the vibes were infinite. The Music Room will live in my heart forever.” — BOREGARD.

__•__ “The Music Room was one of those spots artists had to perform at to pay their dues early on. I can’t think of one of my favorite Atlanta artists that hasn’t played a show at TMR. From EarthGang to Cam The Artisan, Kenny Mason or NEDLOG — it was just somewhere you had to stop when coming up.”— Jarrett Smith

__•__ “The energy The Music Room had was different. You walked down those stairs into a completely different world. It played a major part in the underground music scene in Atlanta.” — SOTA

The Music Room meant a lot to artists, DJs, promoters, music executives, and patrons from all corners of Atlanta’s diverse music scenes, but to Neely, who, alongside LaSage, made The Music Room the cultural behemoth that it was, it was a dream come true.

In a year plagued with loss, the city memorializes yet another tragic casualty of 2020. By taking the lives of our loved ones, the pandemic has brought anguish to Atlanta’s heart. By the Atlanta Police Department’s killing of Rayshard Brooks and assaulting peaceful protestors in our streets,  our city has lost its peace of mind. And, by signaling the end of an era for Edgewood Avenue — and the local music scene as a whole — with the closing of The Music Room, 2020 has now stolen an irreplaceable part of Atlanta’s soul. __—CL—__

''__Limited edition prints of the accompanying graphic, "Tribute to The Music Room," are currently available from the artist, Jesús H. Altamirano, on his [https://www.studioaltamirano.com/product-page/tribute-to-the-music-room|website].__''"
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  string(7566) " ATL Untrap IMG 2967 Web  2020-12-07T22:18:20+00:00 ATL_Untrap_IMG_2967_web.jpg     untrapped At year’s end, Atlanta memorializes the beloved Edgewood venue ATL Untrap IMG 2967 Web   2020-12-07T20:41:23+00:00  ATL UNTRAPPED: The Music Room, a tragic casualty of 2020 jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2020-12-07T20:41:23+00:00 “Goodbye” — one word with no punctuation or further elaboration contextualized a photo of The Music Room in a mid-September Instagram post, featuring a close-up shot of the gathering place’s emblematic stereo-style decor. It quickly traveled through the social media channels of Atlanta’s local music scene as artists, DJs, and patrons alike spread the news of the club’s untimely closing. Although the post followed an extensive statement made by The Music Room two days earlier that explained in detail the heartbreaking circumstances that befell the venue, that photo of the Edgewood Avenue mainstay captioned with a mere “Goodbye” was the nail in the coffin. It represented the definitive end for a place that brought unforgettable music experiences to Edgewood — and Atlanta.

At the start of 2020, however, Keiran Neely — a veteran House DJ and one of the owners of the tri-concept complex that included The Music Room, Edgewood Speakeasy, and Bone Lick Southern Kitchen — had no clue that he would be closing the doors to his lifetime accomplishment. Like many, the England-to-Atlanta transplant started hearing rumblings about the coronavirus at the beginning of the year but didn’t think that the disease would make it to the United States, let alone ravage it. Yet, when it became clear that aggressive action would be needed to protect TMR performers, staff, and patrons, he and his business partner Mike LaSage paused their regular operations in March. 

“There was definitely a sense of disenchantment.” Neely recalls. “We thought that it was going to be short-lived and quickly resolved after a shut-down, and things would get back to normal. Obviously that didn’t happen. Fortunately, we had a full kitchen down here, so we transitioned from venue owners to producing our current pop-up situation.”

After business at The Music Room came to a screeching halt and both the Speakeasy and Bone Lick bowed out of the picture, Neely and LaSage created the SOS (Save Our Shop) Pop-up Kitchen in order to keep The Music Room afloat during the uncertainty this year brought. The socially distanced concept has been offering a limited, rotating takeout menu for pickup and delivery since March. Unfortunately, as restaurants slowly reopened and the need for takeout and delivery subsided as people became more comfortable with new COVID-19 safety guidelines, SOS’s proceeds were no longer robust enough to keep The Music Room alive.

“We didn’t have the resources to keep the landlord satisfied. He was super cool for as long as he could be, and I don’t judge him for asking us to leave,” Neely admits. “He found another tenant that was willing to pay full rent.”

Neely and LaSage tried to ease the financial strain of maintaining their lease by searching for a tenant who would be willing to take over the space upstairs, which originally housed both Bone Lick and Speakeasy. They eventually found one, but the unnamed tenant, who would eventually take over the lease, reportedly wanted to rent the entire space — both upstairs and downstairs. 

“At that point, we were left with two choices: “Do we continue to dig ourselves deeper into a hole, or do we walk away?” Neely says. “We would have tried to make it work by ourselves, spending money to keep the place with the doors closed, but we accepted that The Music Room is closed. The Music Room has been closed. And The Music Room is going to be closed. 

“What is the point of putting ourselves further into debt with a business that we can’t even operate for the near and distant future? I don’t want to bad-mouth the guy who came and took over the space and the lease because he has done nothing wrong. He got us out of a financial situation that we were stuck in, and we were given a chance to walk away cleanly with our heads held high.”

Though the reality of having to part ways with the Edgewood property still stings for Neely — who deems The Music Room the “crown jewel” of his career so far — the massive outpouring of support from locals on social media has helped patch up his wounds. Seeing fans across genres offer their condolences validated his and LaSage’s efforts to create an inclusive and welcoming environment for everyone who walked down The Music Room’s steps. He is grateful that the Room was able to go out on a high note.

The venue continues to receive praise in the afterlife, from its loyal House crowd and the city’s hip-hop community. Producer-songwriter AUDIADASOUND (of The Queendom), “Breakfast” rapper BOREGARD., artist manager and ONE Musicfest marketing coordinator Jarrett Smith, and CL Live From the Archives alumnus SOTA all enthusiastically commented on The Music Room’s significance to Atlanta’s hip-hop underground:

• “The Music Room was like a second home to us! From events thrown by the homies to some of our greatest performances, the times we had there will always be cherished.” — AUDIADASOUND

• “I remember winning an A3C contest and having an official A3C event of my own in that venue. It was one of the few places where you knew sound wouldn’t be a problem. The staff was very accommodating, and the vibes were infinite. The Music Room will live in my heart forever.” — BOREGARD.

• “The Music Room was one of those spots artists had to perform at to pay their dues early on. I can’t think of one of my favorite Atlanta artists that hasn’t played a show at TMR. From EarthGang to Cam The Artisan, Kenny Mason or NEDLOG — it was just somewhere you had to stop when coming up.”— Jarrett Smith

• “The energy The Music Room had was different. You walked down those stairs into a completely different world. It played a major part in the underground music scene in Atlanta.” — SOTA

The Music Room meant a lot to artists, DJs, promoters, music executives, and patrons from all corners of Atlanta’s diverse music scenes, but to Neely, who, alongside LaSage, made The Music Room the cultural behemoth that it was, it was a dream come true.

In a year plagued with loss, the city memorializes yet another tragic casualty of 2020. By taking the lives of our loved ones, the pandemic has brought anguish to Atlanta’s heart. By the Atlanta Police Department’s killing of Rayshard Brooks and assaulting peaceful protestors in our streets,  our city has lost its peace of mind. And, by signaling the end of an era for Edgewood Avenue — and the local music scene as a whole — with the closing of The Music Room, 2020 has now stolen an irreplaceable part of Atlanta’s soul. —CL—

Limited edition prints of the accompanying graphic, "Tribute to The Music Room," are currently available from the artist, Jesús H. Altamirano, on his website.    Jesus H. Altamirano BOOMBOX FOREVER: The Music Room’s run is over, but its legacy lives on. Pictured, from left: Francois Kevorkian (@francoiskync), Kevin Saunderson (@kevinsaunderson), Mark Farina (@djmarkfarina), Honey Dijon (@honeydijon), and Nicky Siano (djnick54).  0,0,11    untrapped                       ATL UNTRAPPED: The Music Room, a tragic casualty of 2020 "
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Due to COVID-19 — and the social unrest caused by the murderous police in cities across the country —  the summer of 2020 certainly burned itself into the history books. It was a season of restriction, alienation, racial tension, death, and uncertainty. Having survived that, a fresh start is definitely what we all could use right now — but the last handful of months will always remain ingrained in our memories. To properly bid farewell to one of the most trying and momentous summers of recent memory, it’s only right that we look back at the music that helped us through it. From hip-hop to R&B as well as all the funky pockets in between, let’s remember some of the best vibrations of summer 2020.


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     Demetri Stefan Burke CRUEL SUMMER: Through troubling times, these tunes have kept us going.  0,0,18    atluntrapped untrapped "ATL Untrapped"                       ATL UNTRAPPED: Remembering the vibrations of summer 2020 "
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  ["title"]=>
  string(34) "ATL UNTRAPPED: Tunes for the times"
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  string(67) "Fuck the regularly scheduled programming — the fight isn’t over"
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  string(67) "Fuck the regularly scheduled programming — the fight isn’t over"
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  string(2066) "All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.


 


 


 


 


 


 


 


 


 


 


 


 


 


 "
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  string(15781) "All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.

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{img fileId="31946" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Lil Baby: “The Bigger Picture”~~__ ~~black:(Quality Control, 2020) — Lil Baby, like many of us, is trying to make sense of it all, and you can hear his pain, hope, and confusion in every verse of “The Bigger Picture.” A unifying effort that addresses the Black community’s distrust for the police and the racist structures upholding American society, from poverty to mass incarceration, “The Bigger Picture” is also a bold call to continuous action. In the hook, Lil Baby advises listeners to be ready for the long haul, fully aware that in order to fully enact change, this has to be a long-lasting movement.~~

''~~black:"I can’t lie like I don’t rap about killing and dope, but I’m telling my youngins to vote"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31947" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Arrested Development: “Revolution”~~__ ~~black:(Capitol Records, 1992) — The current struggle that we’re facing is one that’s been fought by generations before us. This contribution by Arrested Development to Spike Lee’s 1992 film ''Malcolm X'' acknowledges exactly that, giving a nod to past leaders and those who were a part of the struggle, while motivating a new generation of activists. Just because the fight is long does not mean it is not worth fighting. As Speech rhymes near the song’s three-minute mark, “There’s got to be action if you want satisfaction.”~~

''~~black:"There has been a rude awakening / That I have marched until my feet have bled / And I have rioted until they called the feds / What’s left, my conscience said / What’s left, my conscience said"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31948" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Janelle Monáe, Wondaland: “Hell You Talmbout”~~__ ~~black:(Wondaland Records, 2015) — We have to keep saying their names — all of their names. Oftentimes, the most well-known instances of police brutality make the headlines at major news outlets, but there are so many Black women and queer and trans people who don’t become hashtags. Janelle Monáe and Wondaland’s war anthem “Hell You Talmbout” sheds light on nearly 20 victims of police brutality from across decades, and the protest-ready chant allows for the seamless integration of the names of all Black people that are murdered by the police.~~

''~~black:"Say her name / Say her name / Say her name / Say her name / Say her name / Say her name / Say her name / Won’t you say her name?"~~''{BOX}
 

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{img fileId="31949" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:OG Maco: “Get Down”~~__ ~~black:(Quality Control, 2014) — There’s no sil-ver lining to the seemingly endless killings by police in our city and around the country, but one can’t deny that the recent happenings have been a ruthless learning experience. The widespread questioning of racist law enforcement and other prejudiced systems within our society is reminiscent of OG Maco’s ''Breathe EP'', a free three-track project that promoted the Black Lives Matter movement in 2014. “Get Down,” the intro to the EP, most notably presented thought-provoking questions about society, oppression, and hip-hop culture as a whole. Seeking out knowledge and information is key to our progression, and, like “Get Down,” it starts with asking questions.~~

''~~black:"I tell my people get down / I tell my people get down / I said who like to party, fuck livin’ in fear, yeah"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31950" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Childish Gambino: “This Is America”~~__ ~~black:(RCA, 2018) — This Grammy award-winning record and music-video received instant critical praise when released in 2018. Beyond all of the accolades, “This is America” serves as a staunch reminder of how the United States continues to treat Black people. Coupled with its visuals, the single touches on important topics, from police brutality and gun violence to domestic white terrorism and the distractions of materialism and social advancement. Especially as major corporations companies and national brands make their best at-tempts at performative alignment, the song’s message to stay focused is crucial. Remember, this is America that we’re dealing with.~~

''~~black:"This is America / Don’t catch you slippin’ now / Look how I’m livin’ now / Police be trippin’ now"~~''{BOX}
 

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{img fileId="31951" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Future: “March Madness”~~__ ~~black:(EPIC, 2015) — With everything that’s been going on, we must also actively work to preserve our souls. In order for these tragedies to not extinguish our joy, our excitement, or our passion, taking care of ourselves is crucial. Contributing to the movement is hard work, and without the proper rest it can be draining. Take a breather and recoup, but don’t forget there’s still a fight ahead. This electrifying standout from Future’s 2015 mixtape ''56 Nights'' is a classic example, as it embodies the energy of a great night out while still addressing pressing social issues. Be like “March Madness” — sensational, yet still conscious-minded.~~

''~~black:"We ballin’ like the March Madness / All these cops shootin’ a nigga, tragic"~~''{BOX}
 

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{img fileId="31952" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:RMR, Young Thug: “RASCAL”~~__ ~~black:(Warner, 2020) — Sure, RMR’s breakout single is a viral country-rap effort that reimagines Rascal Flatt’s “Bless the Broken Road,” but it also spends nearly a third of its runtime dissing cops. In light of the recent tragedies and subsequent protests that have broken out since the original release of “RASCAL,” Young Thug hopped on an updated version of the record and used the opportunity to transform a silly viral hit into a serious critique of America’s police. Maybe it’s the track’s dramatic piano-laden production, but singing “Fuck them boys in blue” has never felt so cathartic.~~

''~~black:"They even try to break us down and point guns with our hands up / It’s fuck 12, man, they been losin’ they manners / Fuck around and tie up a blue and red bandana"~~''{BOX}
 

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{img fileId="31953" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:LaDonnis, ER: “Black Boy”~~__ ~~black:(Free Love LLC, 2020) This song — although predominantly focused on the Black male experience — is a testament to the trying yet beautiful lives of Black people. In a tweet from November 2017, Atlanta comedian and ''Wild ‘N Out'' star Karlous Miller summed it up best, saying, “I love being black. This shit is dangerous as fuck but it’s kinda fun.” LaDonnis’s new release amplifies those 69 characters into a two-and-a-half-minute ode to that duality, touching on the pain that comes with the territory but mostly celebrating Blackness in general. It’s an aggressive approach to self-love, which will always be much-needed while facing injustice.~~

''~~black:"Black boy got it/ Every single Black girl poppin’ / This for all the Black folks watchin’"~~''{BOX}
 

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{img fileId="31954" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Run the Jewels, Gangsta Boo: “walking in the snow”~~__ ~~black:(Jewel Runners, 2020) When Run the Jewels (Killer Mike and El-P) decided to end the ''RTJ4'' album rollout early and release the album for free, they delivered on their mission to share some raw music to help listeners make sense of everything that’s happening. On its cutting track, “walking in the snow,” Killer Mike’s chilling verse is an obvious standout, but El-P’s verse is just as challenging and dissection-worthy. One of the main concerns present in “walking in the snow” is the public’s apathy in regard to police brutality, so whether it frightens you or infuriates you, prepare to be emotionally charged.~~

''~~black:"And every day on the evening news, they feed you fear for free / And you so numb, you watch the cops choke out a man like me / Until my voice goes from a shriek to whisper , ‘I can’t breathe’"~~''{BOX}
 

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{img fileId="31955" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:21 Savage: “Nothin New”~~__ ~~black:(Slaughter Gang, 2017) One of 21 Savage’s early forays into conscious rap, “Nothin New” speaks to the apathy that Killer Mike warns about on “walking in the snow.” Due to the lack of effective police reform across the country, unnecessarily forceful attacks by police officers continue to disproportionately kill Black people, and the hashtags start to blur. Despite the public’s desensitization to these tragedies — prior to George Floyd’s death, that is — 21 is fed up on “Nothin New.” His terse delivery while breaking down America’s history of racism and oppression makes for a concise critique. He’s right — we should all be fed up.~~

''~~black:"Police gunned his brother down, this shit too hard to handle / Loadin’ up his chopper, he gon’ show ’em Black lives matter"~~''{BOX}
 

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{img fileId="31956" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Nasty C, T.I.: “They Don’t”~~__ ~~black:(UMG, 2020) Teaming up with South African rapper Nasty C, T.I. approaches the reactionary protesting that’s taking place in Atlanta and across the country. Instead of applauding the peaceful protesting and belittling the riots, he directs his criticism to what caused these reactions in the first place. Referring to the Minneapolis 3rd Police Precinct, T.I. deems 2020 to be “the year of the burn,” and perhaps he’s right because eight days after the release of “They Don’t,” the Wendy’s on University Avenue went up in flames following the murder of Rayshard Brooks.~~

''~~black:"But even still, if I’ma be real with you, no fuckin’ joke / Best thing I seen, that police station goin’ up in smoke / Hmm, felt like vindication for so many folks / Breonna Taylor, Sandra Bland, and so many more"~~''{BOX}
 

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{img fileId="31957" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Dane Caston, Christian Ahmed: “Don’t Know What to Say”~~__ ~~black:(Self-released, 2020) The journey for social justice has not been easy. Absorbing the news of Black people and leaders dying at the hands of injustice is extremely difficult right now. Learning of Oluwatoyin Salau’s heinous end in June — after she had been such a vibrant leader in the Black Lives Matter movement in Tallahassee, Florida — is especially heartbreaking. Unfortunately, though there will probably be more mourning during this movement, it’s integral for us to heal along the way. Dane Caston, a local artist and co-founder of World Peace Connection, released “Don’t Know What to Say” after the murder of Ahmaud Arbery, yet the heartfelt tune continues to apply, tragedy after tragedy.~~

''~~black:"All we really need is some healing / Black skin’s not made for killing / Tryna see tomorrow Lord willin’ / I don’t know what to say"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31958" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Jaye Newton: “No More Parties in Atlanta”~~__ ~~black:(8oAPE Music, 2019) Local rapper and leader Jaye Newton hid away a somber gem in the back half of “No More Parties in Atlanta,” a standout cut from his 2019 album, ''Just Pray for Me''. Thus, carefree lines like “Wipe me down, Boosie fade” transition into more poignant ones like “Death is all I see / Please, no more funerals.” Newton continues by relinquishing the pain and fear that the police throughout America have instilled in him and countless other Black lives. It’s a melancholy, yet therapeutic passage that highlights the importance of addressing one’s mental health throughout all of this.~~

''~~black:"I’m scared of headlights at night in my rear view / Scared of police, flashing lights that are blue / Cause they’re killing, stealing our lives"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31959" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Raury: “Take Back the Power”~~__ ~~black:(THE WOODS, 2020) Ruary’s latest release is a war cry and a declaration: Enough is enough. Direct statements about the police and systemic racism in America aren’t mouthed throughout “Take Back the Power”’s four-minute run, but the song makes it clear that it is about putting power in the people’s hands. Lines such as “No I cannot relate / This place was never great” and “Know what you took from me / Know what you stole from me” capture the anger that situations like President Trump’s racist looting tweets or Rayshard Brook’s killing ignite, and the repetitive refrain channels that anger into an invigorating call to action.~~

''~~black:"Now is the time / There will never be later / You hear the whisper / You are the savior."~~''__-CL-__{BOX}
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  string(2505) " Covers Graphic  2020-07-01T20:58:50+00:00 covers_graphic.jpg     untrapped blacklivesmatter Fuck the regularly scheduled programming — the fight isn’t over Covers Graphic   2020-06-30T15:37:00+00:00  ATL UNTRAPPED: Tunes for the times jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2020-06-30T15:37:00+00:00 All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.


 


 


 


 


 


 


 


 


 


 


 


 


 


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  string(5808) "I often forget that I am perpetually not safe, but events in the country that I live in remind me. In middle school, George Zimmerman reminded me. In high school, Darren Wilson did the same. A month prior to my first semester at Georgia State University, Jeronimo Yanez carried the torch. Now, as a young Black man living on my own, I struggle with the news of Ahmaud Arbery and the two white men in my home state continuing this inhumane practice. And now, without even a chance for me to catch my breath, I’m confronted with the death of George Floyd, murdered by police in Minneapolis

In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s To Pimp a Butterfly was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

But honestly, it was J. Cole who prepared me for that behemoth of an album. His “Be Free,” released within days of the public lynching of Michael Brown, was the first song to give me chills, erect the hairs on my body, and bring tears to my eyes. Where To Pimp a Butterfly was the powerful and much-needed response to months of nonstop brutality, “Be Free” was an in-the-moment call to grieve. Cole said what I thought, and he sang how I felt. The song stripped me of my pent-up emotions so that Kendrick’s album could build me back up.

As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by To Pimp a Butterfly and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

Instead, I question whether Atlanta’s artists have a responsibility to speak out about current events and the trauma that has overcome us once again — a trauma which directly affects a bulk of their listenership. As a non-recording artist, the work of criticizing the musical output of others tends to fall under my editorial umbrella, but defining an artist’s responsibilities feels entirely out of bounds.

For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and To Pimp a Butterfly had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. —CL—"
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In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s ''To Pimp a Butterfly'' was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

But honestly, it was J. Cole who prepared me for that behemoth of an album. His “Be Free,” released within days of the public lynching of Michael Brown, was the first song to give me chills, erect the hairs on my body, and bring tears to my eyes. Where ''To Pimp a Butterfly'' was the powerful and much-needed response to months of nonstop brutality, “Be Free” was an in-the-moment call to grieve. Cole said what I thought, and he sang how I felt. The song stripped me of my pent-up emotions so that Kendrick’s album could build me back up.

As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by ''To Pimp a Butterfly'' and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

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For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and ''To Pimp a Butterfly'' had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. __—CL—__"
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  string(7166) " Creative Loafing 23 Final Web  2020-06-04T14:03:53+00:00 creative_loafing_23_final_web.jpg    This was a very different approach to what most of society would think of the celebrity stance. I myself have thought -where are the artists? why aren't they commenting, taking a stance? However, at the end of the day--each day,  we are our society and have to decide to do "something about it ourselves" - regardless of what that looks like. I commend the writer for his honesty and introspection as well as his call to action for each of us. It is very interesting from my point of view.  From my era, the late 80's and early 90's, conscious hip hop littered the airwaves.  Groups like PE and solo artists like Rakim felt the responsibility to entertain and educate.  I often feel that sense of responsibility has taken a back seat to marketability. untrapped atluntrapped Weighing the pain of recent events against the responsibility of artists to speak out Creative Loafing 23 Final Web   2020-06-04T14:03:58+00:00  ATL UNTRAPPED: Should the South have something to say? jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2020-06-04T14:03:58+00:00 I often forget that I am perpetually not safe, but events in the country that I live in remind me. In middle school, George Zimmerman reminded me. In high school, Darren Wilson did the same. A month prior to my first semester at Georgia State University, Jeronimo Yanez carried the torch. Now, as a young Black man living on my own, I struggle with the news of Ahmaud Arbery and the two white men in my home state continuing this inhumane practice. And now, without even a chance for me to catch my breath, I’m confronted with the death of George Floyd, murdered by police in Minneapolis

In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s To Pimp a Butterfly was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

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As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by To Pimp a Butterfly and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

Instead, I question whether Atlanta’s artists have a responsibility to speak out about current events and the trauma that has overcome us once again — a trauma which directly affects a bulk of their listenership. As a non-recording artist, the work of criticizing the musical output of others tends to fall under my editorial umbrella, but defining an artist’s responsibilities feels entirely out of bounds.

For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and To Pimp a Butterfly had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. —CL—    Demetri Stefan Burke BE FREE: We can decide to be the change that we seek.  0,0,16    atluntrapped untrapped                       ATL UNTRAPPED: Should the South have something to say? "
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  string(6614) "By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and Billboard-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—"
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News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

__Quanna__

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project ''Miss Thang'' and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

__ProtéJay__ 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, ''Your World'', on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

__Zaia__

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar ''RESET'' EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to ''RESET'', the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

__Rashford__

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

''This too shall pass.'' __—CL—__"
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  string(7202) " ATL UNT Website  2020-05-11T20:58:18+00:00 ATL_UNT_Website.jpg     atlu Local artists react and adjust to COVID-19 ATL UNT Website   2020-05-01T04:17:00+00:00  ATL UNTRAPPED: Socially distanced, musically connected jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2020-05-01T04:17:00+00:00 By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and Billboard-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

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The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—    Demetri Stefan Burke TRYNA GET AWAY: Atlanta Hip Hop is distancing itself from the horrors of the ongoing pandemic (Clockwise, from top: Rashford, ProtéJay, Quanna, and Zaia).  0,0,10    ATLU                       ATL UNTRAPPED: Socially distanced, musically connected "
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  string(5203) "TICK. TICK. TICK. TICK. TICK. TICK. TICK. TICK.

For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record ''M T'' last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out ''M T'', I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to ''Pulp Fiction'' and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking.    Joshua Robinson QUIET & BOLD: The subdued multi-hyphenate is a creative force to be reckoned with.  0,0,10   cl issue april 2020 atluntrapped                       ATL UNTRAPPED: LoKii AD is taking everything you’ve got "
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Their love of music has always been undeniable, but ambition is what launched their passion into a career. After witnessing the rise of great behind-the-scenes figures such as Oliver El-Khatib and Noah “40” Shebib, their fandom evolved into inspiration, and eventually, Robinson and Selders shifted their sights away from music consumption to its production.

“We were just two music nerds in high school that were like, ‘Yo, we can do this shit better,’” says Silvera-Robinson (no relation to the author). “That was really it — two niggas saying, ‘Why can’t we do that shit?’”

Wealthy in Ambition was formed by two young Black men dedicated to bringing something different to the music industry. Today, the management company works with four intriguing local talents: Zaia, an Arista/Sony artist who just finished touring with Skizzy Mars; Atlanta Xay, a producer and songwriter with collaborative ties across the city; Tonye Ayeba, a soulful multihyphenate with musical roots in the church; and Timxspnt, a self-driven creative force whose album Lord Please Don’t Forget About Me disrupts any notion of what Atlanta music should sound like.

The artists that Silvera-Robinson and Selders service aren’t ‘safe’ bets coming out of a city dominated by trap, but the duo enjoys managing a sonically diverse bunch that isn’t afraid to venture into musical territories foreign to mainstream hip-hop.

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“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

Effective management can show people what they may not see in themselves, but Silvera-Robinson and Selders agree that having drive and passion is still crucial to realizing one’s full potential. In 2019, the uncompromising work ethic shared between Wealthy in Ambition and each of its artists brought everyone involved closer to their goals, and a genuine passion for music keeps them all focused on the year ahead.

Silvera-Robinson and Selders epitomize what it means to be young, ambitious, and Black. Their tale is inspiring — two friends who used to discuss music industry happenings in high school now making moves that will secure their place in rap debates of generations to come. And the fact that they’re having the time of their lives doing it makes it even better. —CL—"
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“There’s a lot more to Atlanta than what’s nationally seen,” Selders says. “There’s a different path to go down where it’s okay to be you and not do what you see all the time.”

Wealthy in Ambition supports those who venture down the path less traveled by working tirelessly to ensure that their artists are in a financial position suitable for their creative endeavors. Selders jokingly refers to their partnership as UMG (Universal Music Group) because of all the areas they have their hands in, from developing music video treatments and planning events to chiming in at recording sessions and setting up meetings with streaming services.

“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

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“There’s a lot more to Atlanta than what’s nationally seen,” Selders says. “There’s a different path to go down where it’s okay to be you and not do what you see all the time.”

Wealthy in Ambition supports those who venture down the path less traveled by working tirelessly to ensure that their artists are in a financial position suitable for their creative endeavors. Selders jokingly refers to their partnership as UMG (Universal Music Group) because of all the areas they have their hands in, from developing music video treatments and planning events to chiming in at recording sessions and setting up meetings with streaming services.

“We’re not big enough to just be managers,” Silvera-Robinson says. “We’re also your creative directors, photographers, marketing, PR, engineers, and even fucking A&Rs sometimes.”

However, valuing quality over clout has led Silvera-Robinson and Selders to step back. Being in charge of such extensive artistic input could bring them more recognition, but may not necessarily yield optimal results for their artists. Instead, they look to give chances to talented people who are willing to put in the work, searching out emerging videographers, writers, and photographers.

Instead of bum-rushing famous designers and creators, Wealthy in Ambition typically taps the city’s underdogs for projects in hopes that all parties involved can rise to prominence together. They have already started to build a repertoire of frequent collaborators, including photographers Jarel Walker and Kye Sams, as well as music video director Jabari Jenkins.

“Sure, reaching out to people who are more established can help,” Selders says, “but if you’re trying to do anything new or special, building with people that are in the same position as you strengthens everything. Not only will it be more organic, but there will be a deeper connection.”

The Cobb County duo’s entire operation is geared towards achieving something greater than their individual success — an opportunity for everyone to eat. They are comfortable with being a source of ambition for others, likening their vision to a rising tide that lifts everything up with it.

“I remember when I met Zaia,” Silvera-Robinson says. “I told that man, ‘If you really want to, you can be as big as Drake,’ and that nigga laughed at me. He didn’t see it. He sees it now.”

Effective management can show people what they may not see in themselves, but Silvera-Robinson and Selders agree that having drive and passion is still crucial to realizing one’s full potential. In 2019, the uncompromising work ethic shared between Wealthy in Ambition and each of its artists brought everyone involved closer to their goals, and a genuine passion for music keeps them all focused on the year ahead.

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  string(5428) "No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

Ahjee Parker: Carnival — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album Carnival should be a major creative leap forward.

Childish Gambino: Since the genre-derailment of his music with 2016’s funk opus ”Awaken, My Love!”, Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

The Queendom: Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut Queenshit Era. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

Playboi Carti: Whole Lotta Red — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s When I Get Home and Tyler, the Creator’s Igor. The only thing missing was his long-awaited follow-up to 2018’s infectious Die Lit. Carti is known to tease us with projects for years. Hopefully Whole Lotta Red lands sooner than later.

ATLANTA XAY: Although he released the five-track Venus E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

Omeretta the Great: Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with Welcome to the Jungle, but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

3: Although the autotune-wielding duo TheYouth! didn’t release anything last year, both Marsofyouth and 3 (aka Trefecta) offered a fair share of solo material. While Mars delivered a full-length project, 3 quietly dropped gems throughout the year, from “Feel Something” in April to “Paths” in November. Whether those singles remain loosies or not, expect a full-length from 3 that showcases his growth over the past year.

Deante’ Hitchcock: BETTER — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album BETTER is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since Revenge of the Dreamers III is nearing an end.

Run the Jewels: Run the Jewels 4 — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their Run the Jewels series is long overdue.

Killumantii: Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

SwaVay & James Blake: FUKKEEM — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects Pure Infinity and Pure Pack prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

Lil Baby: My Turn — Lil Baby is slowly becoming rap’s next unstoppable force. After a bubbling 2017 and a breakout 2018, the Quality Control artist had a relatively low-key year in 2019. Sure, his singles “Out The Mud,” “Baby,” and “Woah” all had successful runs, but otherwise, he took a backseat to his contemporaries. If the title of his upcoming album is a trust-worthy indicator, expect that to change in 2020. —CL—
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  string(5608) "No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

__Ahjee Parker: ____''Carnival''__ — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album ''Carnival'' should be a major creative leap forward.

__Childish Gambino:__ Since the genre-derailment of his music with 2016’s funk opus ''”Awaken, My Love!”'', Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

__The Queendom:__ Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut ''Queenshit Era''. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

__Playboi Carti: ____''Whole Lotta Red''__ — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s ''When I Get Home'' and Tyler, the Creator’s ''Igor''. The only thing missing was his long-awaited follow-up to 2018’s infectious ''Die Lit''. Carti is known to tease us with projects for years. Hopefully ''Whole Lotta Red'' lands sooner than later.

__ATLANTA XAY:__ Although he released the five-track ''Venus'' E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

__Omeretta the Great:__ Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with ''Welcome to the Jungle'', but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

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__Deante’ Hitchcock: ____''BETTER''__ — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album ''BETTER'' is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since ''Revenge of the Dreamers III'' is nearing an end.

__Run the Jewels: ____''Run the Jewels 4''__ — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their ''Run the Jewels'' series is long overdue.

__Killumantii:__ Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

__SwaVay & James Blake: ____''FUKKEEM''__ — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects ''Pure Infinity'' and ''Pure Pack'' prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

__Lil Baby: ____''My Turn''__ — Lil Baby is slowly becoming rap’s next unstoppable force. After a bubbling 2017 and a breakout 2018, the Quality Control artist had a relatively low-key year in 2019. Sure, his singles “Out The Mud,” “Baby,” and “Woah” all had successful runs, but otherwise, he took a backseat to his contemporaries. If the title of his upcoming album is a trust-worthy indicator, expect that to change in 2020. __—CL—__
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  string(5976) " 3trefectaATLUntrappedJan20 Web  2020-01-03T17:52:06+00:00 3trefectaATLUntrappedJan20_web.jpg     atluntrapped Get ready for these highly anticipated records 3trefectaATLUntrappedJan20 Web   2020-01-03T17:42:01+00:00  ATL UNTRAPPED: 2020 record release watch jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2020-01-03T17:42:01+00:00 No matter how many albums drop each year, there will always be hyped projects that never get released. Although 2019 saw an abundance of notable records — even with several local favorites opting to sit the year out — there’s still plenty of music to look forward to in the coming months. From long-rumored follow-ups to artist-confirmed projects, these are the records to look out for in 2020.

Ahjee Parker: Carnival — Ahjee Parker may be an Atlanta transplant, but his contributions to the city have made him one of its most sought-after collaborators. He had an incredible feature-spree last year, lending verses to everyone from Moon to TIMXSPNT, and his upcoming album Carnival should be a major creative leap forward.

Childish Gambino: Since the genre-derailment of his music with 2016’s funk opus ”Awaken, My Love!”, Donald Glover has become recognized as one of the defining artists of the 2010s through his work as Childish Gambino. The Stone Mountain multihyphenate has declared that his next musical outing will be the final run for his alter-ego, so prepare for a grandiose coda.

The Queendom: Hip-hop/R&B duo The Queendom, consisting of AUDIADASOUND and Rocket Rhonnie, burst onto the scene with their 2018 debut Queenshit Era. They’ve been tearing up stages ever since, at local showcases and festivals alike. After nearly a year promoting that record, the two shifted gears in a new direction last fall with their single “Plekeke.” The sultry earworm and its neon visual counterpart make it clear that The Queendom is coming back twice as hard this year.

Playboi Carti: Whole Lotta Red — Playboi Carti was a major talking point of 2019, thanks to the mainstream discovery of his signature “baby voice” as well as standout features on Solange’s When I Get Home and Tyler, the Creator’s Igor. The only thing missing was his long-awaited follow-up to 2018’s infectious Die Lit. Carti is known to tease us with projects for years. Hopefully Whole Lotta Red lands sooner than later.

ATLANTA XAY: Although he released the five-track Venus E.P. at the beginning of last year, ATLANTA XAY hit the reset button shortly thereafter. With a new haircut and his Instagram posts prior to October cleared, Xay’s latest single “ZigZag” signals a new chapter for the eastside rapper. He has yet to make any official announcements, but a calculation of his recent moves suggests listeners should stay tuned for what’s coming next.

Omeretta the Great: Few rappers, regardless of gender, can fuck with Omeretta. The Atlanta lyricist kicked off 2019 with Welcome to the Jungle, but the subsequent months really brought attention to her talents when Nicki Minaj reposted a video of her freestyling for the “Megatron” challenge. With her newly heightened status, there’s no better time for new material, and it seems like Omeretta is well aware. She has been teasing a new album since November.

3: Although the autotune-wielding duo TheYouth! didn’t release anything last year, both Marsofyouth and 3 (aka Trefecta) offered a fair share of solo material. While Mars delivered a full-length project, 3 quietly dropped gems throughout the year, from “Feel Something” in April to “Paths” in November. Whether those singles remain loosies or not, expect a full-length from 3 that showcases his growth over the past year.

Deante’ Hitchcock: BETTER — There is not enough written on Deante’ Hitchcock’s journey from a viral freestyler on social media to a grammy-nominated artist, a situation his upcoming debut album BETTER is sure to change. The RCA-signed artist has been teasing the album and trolling listeners for months, but the wait for his first solo effort since Revenge of the Dreamers III is nearing an end.

Run the Jewels: Run the Jewels 4 — Not many artists have transcended the Outkast era of Atlanta rap, but Killer Mike has through activism, entrepreneurship, and his work as one-half of the critically-acclaimed Run the Jewels outfit with El-P. The duo unleashed their last album in 2017; the fourth installment in their Run the Jewels series is long overdue.

Killumantii: Generation Now artist Killumantii had a monster 2019 without dropping any music. By touring the East Coast as an opener for Kodie Shane’s Young Heartthrob Tour and performing at festivals like Rolling Loud, Killumantii gained notoriety as one of rap’s youngest hard-hitters. Her last project arrived in 2018. It will be interesting to see how her experiences on the road have shaped her new material.

SwaVay & James Blake: FUKKEEM — Dolo artist SwaVay has received major industry nods from the likes of Metro Boomin and James Blake, and his 2019 projects Pure Infinity and Pure Pack prove why. With such a prolific year behind him, the Atlanta wordsmith doesn’t owe listeners anything, but the release of his long-teased joint project with James Blake should be a more-than-welcomed victory lap.

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  string(2553) "Cue the onslaught of year-end lists because 2019 is officially coming to a close. This year has teetered between incredible moments like the long-awaited release of Young Thug’s debut album So Much Fun and truly head-scratching ones, from 21 Savage’s ICE arrest in February to T.I.’s hymen-fueled controversy in November. As Future said earlier this year on the villainous Future Hndrxx Presents: The WIZRD, “Damn. That’s crazy, but it’s true.”

Throughout it all, the music that soundtracked the past several months has been memorable, both mainstream and locally. Veteran artists Gucci Mane and 2 Chainz dropped scorching records while newer acts Lil Keed and EarthGang garnered mainstream looks with sensational major label debuts. Popular local artists, from Childish Major to Reese Laflare, shined on Dreamville’s game-changing Revenge of the Dreamers III as well as their own solo material, and Deante’ Hitchcock, another artist featured on Dreamville’s compilation album, recently shared the rich 6lack-assisted single “How TF” in preparation for his highly-anticipated debut album BETTER.

Refusing to cower in the shadows of the plethora of hyped releases from well-known acts, up-and-coming artists with less notoriety have made creative strides as well. Projects like SwaVay’s brilliant Pure Infinity, Marsofyouth’s airy pop-leaning Scenes, and Quezz’s slurred but quotable Enjoy. show how impressive and multifaceted Atlanta’s local rap scene can be. 

Select artists have reached awe-inspiring productivity, from Atlas Greene’s tactical barrage of EPs and singles to Ajhee Parker’s electrifying feature run. It seems like Parker has had a scene-stealing guest verse on every new release that came out of the city, leaving little to be desired except for an album of his own. Tonye Ayeba, a young musical force in the city, has also been on a collaborative streak, providing production and/or vocals for Xiamara Jennings and Flwr Chyld, among others. He unfortunately doesn’t have a solo project out yet, but his latest single “Open Ya Mind” still slaps months after its release. 

In such a triumphant year for Atlanta hip-hop, ranking the best records would be a daunting task, and, considering the limited space in ATL Untrapped, it would be a disservice to even try. Instead, here is an unranked sample of the many remarkable local hip-hop records of 2019 — nothing more, nothing less. Check out these four standouts as well as the projects and artists already mentioned.




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  string(10479) "Cue the onslaught of year-end lists because 2019 is officially coming to a close. This year has teetered between incredible moments like the long-awaited release of Young Thug’s debut album ''So Much Fun'' and truly head-scratching ones, from 21 Savage’s ICE arrest in February to T.I.’s hymen-fueled controversy in November. As Future said earlier this year on the villainous ''Future Hndrxx Presents: The WIZRD'', “Damn. That’s crazy, but it’s true.”

Throughout it all, the music that soundtracked the past several months has been memorable, both mainstream and locally. Veteran artists Gucci Mane and 2 Chainz dropped scorching records while newer acts Lil Keed and EarthGang garnered mainstream looks with sensational major label debuts. Popular local artists, from Childish Major to Reese Laflare, shined on Dreamville’s game-changing ''Revenge of the Dreamers III'' as well as their own solo material, and Deante’ Hitchcock, another artist featured on Dreamville’s compilation album, recently shared the rich 6lack-assisted single “How TF” in preparation for his highly-anticipated debut album ''BETTER''.

Refusing to cower in the shadows of the plethora of hyped releases from well-known acts, up-and-coming artists with less notoriety have made creative strides as well. Projects like SwaVay’s brilliant ''Pure Infinity'', Marsofyouth’s airy pop-leaning ''Scenes'', and Quezz’s slurred but quotable ''Enjoy.'' show how impressive and multifaceted Atlanta’s local rap scene can be. 

Select artists have reached awe-inspiring productivity, from Atlas Greene’s tactical barrage of EPs and singles to Ajhee Parker’s electrifying feature run. It seems like Parker has had a scene-stealing guest verse on every new release that came out of the city, leaving little to be desired except for an album of his own. Tonye Ayeba, a young musical force in the city, has also been on a collaborative streak, providing production and/or vocals for Xiamara Jennings and Flwr Chyld, among others. He unfortunately doesn’t have a solo project out yet, but his latest single “Open Ya Mind” still slaps months after its release. 

In such a triumphant year for Atlanta hip-hop, ranking the best records would be a daunting task, and, considering the limited space in ATL Untrapped, it would be a disservice to even try. Instead, here is an unranked sample of the many remarkable local hip-hop records of 2019 — nothing more, nothing less. Check out these four standouts as well as the projects and artists already mentioned.

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~~#000000:__Cam the Artisan, ''Hues'' (Self-released)__ — Fewer sentiments ring truer than Cam the Artisan’s admission on “WYA?!” that life’s been hella crazy. The third track from the beautifully produced Hues is a prime example of the frank openness that guides the entire record. On this insular but vulnerable effort, Cam creates a universe where deeply personal rumination is situated amid outside perspectives. The seven guest features credited throughout the album’s 40-minute run-time consist of multiple appearances from a small pool of collaborators, further contributing to the looming feel of isolation. With Hues, Cam the Artisan skillfully captures what it’s like to be a social introvert, proving the latter part of his stage name isn’t just a place holder.~~
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~~#000000:__Lone London, ''4everland'' (Better Days Ahead)__ — Don’t let the serene earth tones of the cover art fool you, 4everland is a fiery 13-track offering from one of Atlanta’s best-kept secrets. From the opening track “Here We Go,” there’s something exhilarating about Lone London’s trademark quivering vocals. Where dissonance and hesitation marred his past work, confident and harmonious performances present listeners with a more-realized Lone London this time around, fully in tune with his creative direction. Features on 4everland are limited, yet Ahjee Parker and Baby Santana’s guest verses on “Cowboy” and “Anaconda,” respectively, make worthy embellishments. London rarely relinquishes the spotlight, and the strength of cuts such as “Work It,” “4ever,” and “Switch” shows that he’s justified in doing so. 4everland is a testament to London’s development as an artist, and the pulsating self-titled closer “Lndn” is proof that growth, despite the challenges it brings, is invigorating.~~
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~~#000000:__Yung Baby Tate, ''GIRLS Deluxe'' (Self-released)__ — Prior to Tate landing a slick guest spot on “Don’t Hit Me Right Now” from ROTD III, she was already having an incredible 2019 with the release of the conceptual GIRLS at the top of the year. Four months later, Tate unleashed GIRLS Deluxe, a repackaged follow-up with the bonus tracks “Play Girl (UNIIQU3 REMIX),” “Rich Girl,” the Queen Key and Asian Doll-featuring “Mean Girl,” and “Girl.” GIRLS was already a compelling self-produced effort, but the 12 minutes of bonus material didn’t quite capture the passion of Tate’s original performances. However, what gives GIRLS Deluxe the edge over its shorter counterpart is the inclusion of “Mean Girl,” whose chorus employs one of the most scathing quotables of 2019: “Bitch, you just a penis.”~~
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~~#000000:__Zaia - ''RESET'' (Not Fit For Society/Arista)__ — Doubling as a visual EP, Zaia’s debut project on Arista Records arrived in June after the success of his previously released singles “BLUE” and “WASTE MY TIME.” The polished effort engulfs listeners into an experience that shuffles between disparate moods at the drop of a dime. Suspicion kicks the album into gear before shifting through a savory assortment of pop-gloom, exasperation, and heartfelt pleading, which makes the final moments of calm surrender all the more satisfying. RESET is just as sonically amorphous, yet there’s not a moment when Zaia sounds out of place. The skillful offering is inspired by the need to recalibrate, which is especially poignant as a momentous year concludes, and the uncertainty of a new decade approaches.~~
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  string(3038) " ATLUntrapped Dec Composite  2019-12-04T22:36:31+00:00 ATLUntrapped_Dec_composite.jpg     atlanta music hip-hop atluntrapped Recalibrate for the future ATLUntrapped Dec Composite   2019-12-04T21:24:05+00:00  ATL UNTRAPPED: A triumphant 2019 for Atlanta hip-hop jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2019-12-04T21:24:05+00:00 Cue the onslaught of year-end lists because 2019 is officially coming to a close. This year has teetered between incredible moments like the long-awaited release of Young Thug’s debut album So Much Fun and truly head-scratching ones, from 21 Savage’s ICE arrest in February to T.I.’s hymen-fueled controversy in November. As Future said earlier this year on the villainous Future Hndrxx Presents: The WIZRD, “Damn. That’s crazy, but it’s true.”

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Refusing to cower in the shadows of the plethora of hyped releases from well-known acts, up-and-coming artists with less notoriety have made creative strides as well. Projects like SwaVay’s brilliant Pure Infinity, Marsofyouth’s airy pop-leaning Scenes, and Quezz’s slurred but quotable Enjoy. show how impressive and multifaceted Atlanta’s local rap scene can be. 

Select artists have reached awe-inspiring productivity, from Atlas Greene’s tactical barrage of EPs and singles to Ajhee Parker’s electrifying feature run. It seems like Parker has had a scene-stealing guest verse on every new release that came out of the city, leaving little to be desired except for an album of his own. Tonye Ayeba, a young musical force in the city, has also been on a collaborative streak, providing production and/or vocals for Xiamara Jennings and Flwr Chyld, among others. He unfortunately doesn’t have a solo project out yet, but his latest single “Open Ya Mind” still slaps months after its release. 

In such a triumphant year for Atlanta hip-hop, ranking the best records would be a daunting task, and, considering the limited space in ATL Untrapped, it would be a disservice to even try. Instead, here is an unranked sample of the many remarkable local hip-hop records of 2019 — nothing more, nothing less. Check out these four standouts as well as the projects and artists already mentioned.




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  string(5095) "ONE Musicfest, Atlanta’s premier blend of hip-hop and R&B, returns this weekend for its 10th anniversary showcase. The festival hits Centennial Olympic Park from Saturday, September 7 to Sunday, September 8. Flexing a star-studded lineup that features local legends such as Gucci Mane and Usher alongside rising stars such as Baby Rose and Yung Baby Tate, ONE is ready to celebrate its landmark year with a bang. In addition to the highly anticipated performances, a wide array of food trucks and merch vendors run the gamut from a cut-and-dry music outing to a bonafide Afrocentric experience. With so much to look forward to, you don’t want to get lost in the sauce and squander the festivities, so here is a survival guide to ONE Musicfest 2019:

Tip #1: Get familiar with the lineup.

For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of It’s Dark and Hell is Hot and the 25th anniversary of Enter the Wu-Tang (36 Chambers), respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012.

With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing.

Tip 2: Understand the wristband.

Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration.

Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it.

Review the entire wristband policy and activation guide on ONE Musicfest’s website.

Tip 3: Get your bag right.

Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its website.

Tip 4: Know what is and isn't allowed inside.

Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its FAQ section, so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate.

Tip 5: Be prepared to be on festival grounds all day.

Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing.

“We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. Go with the flow and enjoy the vibe.”

 

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~~#000000:__Tip #1: Get familiar with the lineup.__~~

For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of ''It’s Dark and Hell is Hot'' and the 25th anniversary of ''Enter the Wu-Tang (36 Chambers)'', respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012.

With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing.

~~#000000:__Tip 2: Understand the wristband.__~~

Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration.

Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it.

Review the entire wristband policy and activation guide on ONE Musicfest’s [https://www.onemusicfest.com/wristbands/|website].

~~#000000:__Tip 3: Get your bag right.__~~

Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its [https://www.onemusicfest.com/bag-policy/|website].

~~#000000:__Tip 4: Know what is and isn't allowed inside.__~~

Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its [https://www.onemusicfest.com/info/|FAQ section], so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate.

~~#000000:__Tip 5: Be prepared to be on festival grounds all day.__~~

Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing.

“We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. Go with the flow and enjoy the vibe.”

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  string(5972) " IMG 2826 1  2019-09-04T19:28:15+00:00 IMG_2826-1.JPG     atlanta hip-hop creative loafing one musicfest gucci mane wu-tang clan 7am centennial olympic park survival guide dmx rae sremmurd j carter greg street 10 year anniversary Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming IMG 2826 1   2019-09-04T19:24:53+00:00  ONE Musicfest survival guide joshfrob17 Joshua Robinson Joshua Robinson joshfrob17 (Joshua Robinson) 2019-09-04T19:24:53+00:00 ONE Musicfest, Atlanta’s premier blend of hip-hop and R&B, returns this weekend for its 10th anniversary showcase. The festival hits Centennial Olympic Park from Saturday, September 7 to Sunday, September 8. Flexing a star-studded lineup that features local legends such as Gucci Mane and Usher alongside rising stars such as Baby Rose and Yung Baby Tate, ONE is ready to celebrate its landmark year with a bang. In addition to the highly anticipated performances, a wide array of food trucks and merch vendors run the gamut from a cut-and-dry music outing to a bonafide Afrocentric experience. With so much to look forward to, you don’t want to get lost in the sauce and squander the festivities, so here is a survival guide to ONE Musicfest 2019:

Tip #1: Get familiar with the lineup.

For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of It’s Dark and Hell is Hot and the 25th anniversary of Enter the Wu-Tang (36 Chambers), respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012.

With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing.

Tip 2: Understand the wristband.

Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration.

Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it.

Review the entire wristband policy and activation guide on ONE Musicfest’s website.

Tip 3: Get your bag right.

Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its website.

Tip 4: Know what is and isn't allowed inside.

Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its FAQ section, so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate.

Tip 5: Be prepared to be on festival grounds all day.

Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing.

“We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. Go with the flow and enjoy the vibe.”

 

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  string(4726) "There is beauty in nostalgia. Many industries recognize this, and capitalize off of society’s innate desire to remember what once was. The film industry pumps billions of dollars into sequels and reboots of questionable quality, and fast fashion companies are mass producing cheap, screen-printed T-shirts with retro designs. Most companies are doing it without couth, but for Versus ATL, nostalgia isn’t a gimmick — it’s their culture. Their appreciation for the history behind sneakers and vintage threads has translated into a viable business, and now the shop is merely days away from its four-your anniversary.

Tucked across the street from the Earl, Versus is the epicenter of hip-hop and streetwear culture in East Atlanta Village. Founded by local entrepreneurs Leo and John, who have opted to keep their surnames private for this piece, as well as Tennessee reseller Danny Perez, the independent vintage shop boasts an impressive assortment of new and used sneakers, rare pieces, and throwback gear. Antique vhs and cassette tapes adorn its fixtures alongside figurines of pop-culture icons from Dennis Rodman to MC Hammer. Versus doesn't feel like typical a boutique, but it wasn't designed to.

“I believe in making people feel valued,” Leo says. “Our goal when we opened up the store was to make you feel as if you were shopping in your homie’s closet.”

That vibe was inspired by Leo’s experiences with John. John is credited with stumbling upon the name of the store, but his tendency to purchase and hold on to rare sneakers and garments made a major impact on it as well. His closet essentially became a shop for his friends.

“If any of the homies wanted some stuff they could come get it from me,” John says. “I wasn’t taxing them like that either. I would just ask for some kind of fair value or whatever I paid for it.”

Their personal approach combined with their genuine love for streetwear culture laid the groundwork, and on September 5, 2015, Leo, Danny and John welcomed patrons into their closet and opened the doors to Versus ATL. Since then, the team has welcomed local visitors and stars from across the country. This year alone, celebrities such as Young Nudy, Faizon, Travis Scott, and Shameik Moore have stopped by the shop, illustrating how deeply Versus has rooted itself in popular culture. Hip-hop has especially embraced it, and it was an organic development rather than a marketing strategy.

“Our second customer ever was Bankroll Fresh, R.I.P.,” John says. “So we literally started off with hip-hop roots.”

Danny agrees to that point and chops it up to the overall product in the shop, saying, “Also, the stuff we sold was very inspired by ‘90s hip-hop artists and what they were wearing. We like rock ‘n’ roll, technology and movie stuff too, but hip-hop definitely ties into what we do.”

Four years later, Versus has become a one-stop shop for performance and photoshoot wardrobe for rappers and hip-hop publications. The retro Charlotte Hornets jacket that J. Cole sported for this year's NBA All-Star game as well as the Martin hoodie that Cozz wore for the Dreamville XXL cover this spring were both supplied by Versus.

“That was big for the vintage community,” Danny says. “For us, it’s bigger than selling unique pieces. Everything on the racks tells a story.”

That Charlotte Hornets Starter jacket was priced at $75 and sat the entire winter at Versus. Believing that no one would purchase the jacket, the team eventually removed it from the floor and added it to their backstock. After working with J. Cole’s stylist for the XXL shoot, Versus was tapped for the Allstar game, and that same jacket was chosen for Cole’s halftime performance. The once $75 jacket was now resurfacing online for upwards of $300, but in a way it was priceless for some people. Another layer of sentimental value latched onto it, and the jacket was immortalized, much like many other garments found at Versus.

“Shout out to everyone that didn’t buy that jacket!” Leo says. “But really, these pieces are history, and they can mean something to anyone, whether it’s a Tweety Bird shirt, a Freaknik shirt or a Late Registration shirt. These aren’t remakes. These are the original pieces.”

Versus ATL turns 4 years old on September 5, but the EAV staple celebrates its four-year anniversary on Labor Day. Amidst its success, talks of a new location and exciting events are brewing, but for now, the team reflects on its journey and appreciates all of its achievements.

Versus ATL is open Mon.-Sat. 12 p.m.-7 p.m. and Sun. 3 p.m.-7 p.m. 493 Flat Shoals Ave SE, Atlanta, GA 30316. 404-748-1530."
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Tucked across the street from the Earl, Versus is the epicenter of hip-hop and streetwear culture in East Atlanta Village. Founded by local entrepreneurs Leo and John, who have opted to keep their surnames private for this piece, as well as Tennessee reseller Danny Perez, the independent vintage shop boasts an impressive assortment of new and used sneakers, rare pieces, and throwback gear. Antique vhs and cassette tapes adorn its fixtures alongside figurines of pop-culture icons from Dennis Rodman to MC Hammer. Versus doesn't feel like typical a boutique, but it wasn't designed to.

“I believe in making people feel valued,” Leo says. “Our goal when we opened up the store was to make you feel as if you were shopping in your homie’s closet.”

That vibe was inspired by Leo’s experiences with John. John is credited with stumbling upon the name of the store, but his tendency to purchase and hold on to rare sneakers and garments made a major impact on it as well. His closet essentially became a shop for his friends.

“If any of the homies wanted some stuff they could come get it from me,” John says. “I wasn’t taxing them like that either. I would just ask for some kind of fair value or whatever I paid for it.”

Their personal approach combined with their genuine love for streetwear culture laid the groundwork, and on September 5, 2015, Leo, Danny and John welcomed patrons into their closet and opened the doors to Versus ATL. Since then, the team has welcomed local visitors and stars from across the country. This year alone, celebrities such as Young Nudy, Faizon, Travis Scott, and Shameik Moore have stopped by the shop, illustrating how deeply Versus has rooted itself in popular culture. Hip-hop has especially embraced it, and it was an organic development rather than a marketing strategy.

“Our second customer ever was Bankroll Fresh, R.I.P.,” John says. “So we literally started off with hip-hop roots.”

Danny agrees to that point and chops it up to the overall product in the shop, saying, “Also, the stuff we sold was very inspired by ‘90s hip-hop artists and what they were wearing. We like rock ‘n’ roll, technology and movie stuff too, but hip-hop definitely ties into what we do.”

Four years later, Versus has become a one-stop shop for performance and photoshoot wardrobe for rappers and hip-hop publications. The retro Charlotte Hornets jacket that J. Cole sported for this year's NBA All-Star game as well as the ''Martin'' hoodie that Cozz wore for the Dreamville XXL cover this spring were both supplied by Versus.

“That was big for the vintage community,” Danny says. “For us, it’s bigger than selling unique pieces. Everything on the racks tells a story.”

That Charlotte Hornets Starter jacket was priced at $75 and sat the entire winter at Versus. Believing that no one would purchase the jacket, the team eventually removed it from the floor and added it to their backstock. After working with J. Cole’s stylist for the XXL shoot, Versus was tapped for the Allstar game, and that same jacket was chosen for Cole’s halftime performance. The once $75 jacket was now resurfacing online for upwards of $300, but in a way it was priceless for some people. Another layer of sentimental value latched onto it, and the jacket was immortalized, much like many other garments found at Versus.

“Shout out to everyone that didn’t buy that jacket!” Leo says. “But really, these pieces are history, and they can mean something to anyone, whether it’s a Tweety Bird shirt, a Freaknik shirt or a ''Late Registration'' shirt. These aren’t remakes. These are the original pieces.”

Versus ATL turns 4 years old on September 5, but the EAV staple celebrates its four-year anniversary on Labor Day. Amidst its success, talks of a new location and exciting events are brewing, but for now, the team reflects on its journey and appreciates all of its achievements.

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  string(5164) " IMG 2905  2019-08-31T15:10:14+00:00 IMG_2905.jpg      The EAV establishment reflects on its journey so far IMG 2905   2019-08-30T21:09:30+00:00  Versus ATL turns 4 chad.radford Chad Radford Joshua Robinson joshfrob17 (Joshua Robinson) 2019-08-30T21:09:30+00:00 There is beauty in nostalgia. Many industries recognize this, and capitalize off of society’s innate desire to remember what once was. The film industry pumps billions of dollars into sequels and reboots of questionable quality, and fast fashion companies are mass producing cheap, screen-printed T-shirts with retro designs. Most companies are doing it without couth, but for Versus ATL, nostalgia isn’t a gimmick — it’s their culture. Their appreciation for the history behind sneakers and vintage threads has translated into a viable business, and now the shop is merely days away from its four-your anniversary.

Tucked across the street from the Earl, Versus is the epicenter of hip-hop and streetwear culture in East Atlanta Village. Founded by local entrepreneurs Leo and John, who have opted to keep their surnames private for this piece, as well as Tennessee reseller Danny Perez, the independent vintage shop boasts an impressive assortment of new and used sneakers, rare pieces, and throwback gear. Antique vhs and cassette tapes adorn its fixtures alongside figurines of pop-culture icons from Dennis Rodman to MC Hammer. Versus doesn't feel like typical a boutique, but it wasn't designed to.

“I believe in making people feel valued,” Leo says. “Our goal when we opened up the store was to make you feel as if you were shopping in your homie’s closet.”

That vibe was inspired by Leo’s experiences with John. John is credited with stumbling upon the name of the store, but his tendency to purchase and hold on to rare sneakers and garments made a major impact on it as well. His closet essentially became a shop for his friends.

“If any of the homies wanted some stuff they could come get it from me,” John says. “I wasn’t taxing them like that either. I would just ask for some kind of fair value or whatever I paid for it.”

Their personal approach combined with their genuine love for streetwear culture laid the groundwork, and on September 5, 2015, Leo, Danny and John welcomed patrons into their closet and opened the doors to Versus ATL. Since then, the team has welcomed local visitors and stars from across the country. This year alone, celebrities such as Young Nudy, Faizon, Travis Scott, and Shameik Moore have stopped by the shop, illustrating how deeply Versus has rooted itself in popular culture. Hip-hop has especially embraced it, and it was an organic development rather than a marketing strategy.

“Our second customer ever was Bankroll Fresh, R.I.P.,” John says. “So we literally started off with hip-hop roots.”

Danny agrees to that point and chops it up to the overall product in the shop, saying, “Also, the stuff we sold was very inspired by ‘90s hip-hop artists and what they were wearing. We like rock ‘n’ roll, technology and movie stuff too, but hip-hop definitely ties into what we do.”

Four years later, Versus has become a one-stop shop for performance and photoshoot wardrobe for rappers and hip-hop publications. The retro Charlotte Hornets jacket that J. Cole sported for this year's NBA All-Star game as well as the Martin hoodie that Cozz wore for the Dreamville XXL cover this spring were both supplied by Versus.

“That was big for the vintage community,” Danny says. “For us, it’s bigger than selling unique pieces. Everything on the racks tells a story.”

That Charlotte Hornets Starter jacket was priced at $75 and sat the entire winter at Versus. Believing that no one would purchase the jacket, the team eventually removed it from the floor and added it to their backstock. After working with J. Cole’s stylist for the XXL shoot, Versus was tapped for the Allstar game, and that same jacket was chosen for Cole’s halftime performance. The once $75 jacket was now resurfacing online for upwards of $300, but in a way it was priceless for some people. Another layer of sentimental value latched onto it, and the jacket was immortalized, much like many other garments found at Versus.

“Shout out to everyone that didn’t buy that jacket!” Leo says. “But really, these pieces are history, and they can mean something to anyone, whether it’s a Tweety Bird shirt, a Freaknik shirt or a Late Registration shirt. These aren’t remakes. These are the original pieces.”

Versus ATL turns 4 years old on September 5, but the EAV staple celebrates its four-year anniversary on Labor Day. Amidst its success, talks of a new location and exciting events are brewing, but for now, the team reflects on its journey and appreciates all of its achievements.

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