ARTIST PROFILE -- Rusty Sox and Titanic Alley

Love that paisley!

JASPER: When did you first begin to pursue visual art? Where and when did you train, or are you self-taught?

SOX: I decided to experiment with making bow ties in 2013. I was craving a creative pursuit that combined my love of thrift store shopping and fashion. I decided to use cast-away garments to upcycle into new wearable art in the form of bow ties. I bought an inexpensive sewing machine and made some patterns from old, deconstructed ties. I taught myself how to sew and how to make ties.

 

JASPER: What mediums in visual arts do you typically use and why? 

SOX: I use vintage and recycled fabrics, mostly acquired from area thrift stores.

 

JASPER: Where do you work now and where do you show your work? 

SOX: I have a studio at home. I primarily show and sell at local craft shows and through my web site www.titanicalley.com. 

I was included in the 2015  “Carolina Makers” exhibition at the South Carolina State Museum and was runner-up to “Best in Show” at the 2017 Crafty Feast.

 

JASPER: Who have been your greatest influences as an artist? 

SOX: I am inspired by the creations and philosophies of the early 20th Century Arts and Crafts movement and by the work of architect Frank Lloyd Wright. Locally, I was inspired by the late “Refashionista” Jillian Owens who demonstrated how cast-off clothes could become beautiful and useful again.

 

JASPER: What do you feel makes your art unique? 

SOX: I think the recycled nature of my materials, as well as the contrast of colors and textures in many of my bow ties makes my pieces unique.

 

JASPER: Who is your favorite SC-based visual artist and why? 

SOX: I am admittedly biased, but I am a big fan of ceramic artist Paul Moore. I think his work is beautiful and the way he captures the South Carolina landscape in clay is inspiring. I am lucky to share my life with such a great artist and great human being.

 

JASPER: What are you working on now, will we get to see it, and if so, where, and when? 

SOX: I am always working on new ties, but I am terrible about updating my website. I promise to try and do better! I am available for private appointments and custom work as well.

FIND RUSTY SOX AT THE COTTONTOWN ART CRAWL, BOOTH 41 AT 2231 WALLACE STREET, AT THE COTTONTOWN ARTS CRAWL ON SATURDAY MARCH 12TH FROM 10-3

WILL SOUTH - Sig Abeles Writes a Memoir

Sigmund Abeles (b. 1934), Self-Portrait in a Hat/Drawing, pastel on paper, collection of Nora Lavori.

            Sig Abeles was born in New York but raised in South Carolina’s Myrtle Beach. His mother had a bad, well, a horrible marriage, so she packed up little Siggy and headed for Dixie where relatives lived nearby. It was Mrs. Abeles’ (pronounced “a” as in hay and “beles” as in Belize) idea to start a seaside hotel (only it was cheaper to be off Highway 17, not quite on the water) and it would be there that her son grew up to love the sea, riding horses, and Brookgreen Gardens. From there, he would eventually make his way back to New York with dreams of becoming a great artist. After all, his pal, Jasper Johns, had not done so bad.

            And, in his own way, he did become that great artist and one of the more recognizable printmakers of the late 20th century. Which means he needs a book of some kind to declare that this is the case.

            “Sig, what about that memoir you’ve been threatening to write for the last twenty years?”

            “Oh, I got busy,” he drawls, with a manner of speaking that betrays echoes of a drawl mixed in with vintage New York aggro and a healthy dose of Yiddish inflection.

            “Busy with what?” I bug him. Most artists need to be pushed until they get to the edge of the cliff, then they’ll happily jump by themselves.

            “Well, there’s my lady, and I’m her man. We need time together.”

            After having been divorced three times, Sig got a girlfriend at the age of sixty-seven, and they are still together after twenty years. Their first date was a walk in the park, literally Central Park. For Sig, ever the romantic, it had been love at first sight.

            “I hope you found a nice Jewish girl, as your mom wished for you to do.”

            “"No, oddly, I didn't. Not even back when I lived with mom.” And he chuckles, ever the gleam in his sharp, highly trained eyes. “Not that I didn’t spend a lot of time looking.”

           “I’m happy for you, Sig. Really. That said, happiness schmappiness. You need to get your life story down in print. You are a first-class bullshitter, and your story would be a good read—the boy from down yonder who made good in the big city. It’s the great American story, isn’t it? Fate would have had you working in your uncle’s grocery story over in Florence, but you defied fate, or something like it, and followed your heart.”

            “Ah, yes. That I did. It really all started in Brookgreen Gardens.”

            “Tell me about that. Maybe later you can write it down and get this show on the road.”

            “Sure. I’ll tell you about it. That spot was where my living education took place at a time when the rural deep South lacked museums of history, nature, and art. I was given either a box of Ritz crackers or a box of Del-Monte raisins as a standard snack and would go sit on my perch and learn with my eyes. On any short list of why I became so damned lucky as a dreamer, human being, and artist, Brookgreen Gardens, a mere seventeen miles south of my Myrtle Beach home, comes in as a close contender for the top. It was where I cut my “art-teeth,” and I would doubtfully have become a professional artist without that magical collection of American figurative sculptures set in formal gardens. Throw in the zoo of local animals, which I also soaked in repeatedly until I was full, and I was able to learn what no one school or teachers could have possibly provided me.

            My lady friend, Nora, likes to tell folks about my “eagle-eye.” In a museum or at an antique show my eye leads me to the absolute best thing there almost instantly. That visual acuteness was developed at Brookgreen. The mystery of how in the world a sculptor could observe a model and somehow translate and transform clay into a convincing, living form for eternity still bowls me over, even though I now understand and practice those processes. The two huge subjects of my personal passion, the human, especially female, body and the grace and power of the horse remains fulfilling, thanks to that rich and exciting collection. From my vantage point on our rooming house’s steps overlooking US 17, I sometimes would spot a huge flatbed truck with a sculpture, sometimes wrapped in tarps with just a huge thigh or shoulder exposed on the way to that ever-evolving Brookgreen. I would run into the kitchen shouting, “Ma, a new sculpture is going to Brookgreen, please, when can we go down to see it, say really soon! OK? Please?”

            Because of Brookgreen Gardens, I knew the name and the sculpture of Anna Hyatt Huntington long before I had heard of Auguste Rodin. The same is true for the names of Gertrude Whitney and Malvina Hoffman before even knowing about Michelangelo, or the way-out, biting wit and satire of Henry Clews before Francisco Goya became a greater favorite and influence. It still seems like an odd happenstance of counter-intuition that it was the lady modelers who were the early heroes for me, not the men. In fact, the first time I “touched” art (and maybe it touched me) is evidenced in a snapshot of me as maybe a four-year-old on a family picnic where I was pulling the tail of a bronze lion by Ms. Huntington.”

            “And, from there to where, my friend? Tell me a little about your time at USC.”

            “My time at USC would prove to be a mixed bag, maybe even a mixed-up bag. In the 1950s, one could argue, correctly, that Columbia was at the epicenter of conservative American mores focused on truth and righteousness and was a national leader in the suppression of civil rights. No irony there, right? It was thus an unlikely place to be if one’s goal were to learn about mysterious creative strategies that might unlock the door to an artistic life. On the other hand, it might be a good place to learn business strategies involving tobacco and the manufacture of cigarettes and how to deny their danger to the health of the world. I knew instinctively things were going to be bumpy when I discovered the art department offered not one course in sculpture. Not. One. A place like Brookgreen Gardens never came up in conversation, however much I loved that place so dearly. It was my launching pad.

            The greatest professor there for me was Bob Ochs who taught American history and was a Lincoln scholar. God, how I loved hearing him dress down those students falsely proud of the Old South. He would happily tell them that their family were not plantation or slave owners, but rather were white trash who desperately needed to distinguish themselves one bare notch above Black Americans. Bob later became a friend, bought some work, had a house in Majorca, was awfully close to Jasper Johns, and was uniquely special—it was a privilege to have known him.

            I was supposed to be a pre-med student. Mom wanted me to be Chief Surgeon to the Free World. But I struggled with math, chemistry, and biology classes. I wanted art like no other desire; it was obsessional. USC's art faculty was comprised of interesting individuals. My favorite art professor was Augusta "Bucky" Wikowski, the adorable, eccentric art historian. She was widowed by the time I met her. Bucky was a great traveler and storyteller. She truly brought slides alive with her insights. Her pronunciation of profile as "pro-feel" delighted me as did her recounting to me over drinks on her Devine Street hillside home of the personae she assumed during her full summer travels to Europe and Mexico. Once she passed herself off as white Russian aristocracy, another time as a famous madam. Long after I left Columbia, the Columbia Museum of Art had arranged a show of her paintings, which were done either while traveling or from sketches made during those trips.

            However, Bucky was extremely modest about her canvases, very self-effacing. When it was time to deliver her exhibition, she stacked all her framed works against the back bumper of her station wagon and then proceeded to back over them all, busting frames and stretchers, doing grave damage to the best of her years of labors of love and remembrance.

            Often, I ranked myself in USC's art department as the fair-haired freshman (or fair-haired sophomore by the time I noticed my post pre-med mistake) while Jasper Johns was the fair-haired senior. The Jasper Johns event of memory was the farewell Mr. Graduate party for Jap after which he roared off in his snappy red sports car to fulfill his dream of going to New York to study at the Art Students League of New York with Yasuo Kuniyoshi. At the time, Jap's works were small watercolors leaning toward Paul Klee and rose period Picasso, sensitive and poetic. Jap's parting words to me were that when I made my way back to New York to look him up and he would help me find a place to live and work, which I did but neither a studio and apartment nor the job worked out for me. I do remember one day when Jap and I were at MOMA and he just said, “the New York Art World is run by four hundred male homosexuals.”

            In 1955, soon after the Supreme Court decision in favor of desegregation, I was called into the president of the University of South Carolina’s office. I had passed out leaflets around campus in support of civil rights, and taped fliers to walls. This work was modest in relation to what was to come in the 1960s, but it was enough to get you into plenty of trouble in South Carolina in the ‘50s. Certain of my views seem to have been influenced by northern proponents of freedom for all (radicals, that is), and the president, had this to say to me: "If you owe them so much (these radicals), why don't you move north to live with them?"

            I responded that I was at USC to get a degree and it was my intention to finish it. My records were on his desk, and he looked them over and proceeded to tell me that with the summer schools I had attended, I had enough credits to graduate. (I had put in five semesters of undergraduate work.) "If you agree to leave USC after this semester, we will send you a bachelor’s degree in June." In essence, he gave me a bachelor’s degree as a way to kick me out of school, similar in spirit to how Southerners will say, “Well, bless your heart!” when they mean “Screw you!” So, I finished that semester and moved to New York, took a small apartment in Greenwich Village on Charles Street and started making art.”

            You must have hundreds of stories.”

            “I do. But I wouldn’t know how to end it.”

            “That, Sig, is a good thing. Now, write the rest of it.”

 

Note: Sigmund Abeles has completed a first draft of his memoir, and, with a good deal of luck, should be out and readable in a year or two.

Will South is an independent artist, curator and writer based in Columbia.


NEW WORK in the Windows at the Meridian Building's Jasper Galleries

Another of our Jasper Galleries that Never Sleep

the Sidewalk Jasper Gallery at the Meridian Building

Virginia Scotchie

Under the direction of Jasper Project board member Bert Easter, the Jasper Project is showing more art than ever before in the windows of our Jasper Gallery at the Meridian Building in downtown Columbia. Located a half block off Main Street on the corners of Washington and Sumter, our gallery that never sleeps is packed with art from Virginia Scotchie, a number of artists from the Scotchie Studio, including Robert DeLyon, Patrick Burke, and more.

Kat West

Virginia Scotchie

Virginia Scotchie

Landscape artist Emily Ward has also brought us seven new paintings.

Emily Ward

For more information on purchasing work from the Jasper Gallery at the Meridian or showing your own work, please contact us at info@jasperproject.org.

Psssst …! Are you interested in getting involved in the work of the Jasper Project? We’re looking for new friends, guild members, and board members and we’re betting you have something we’re looking for!

We’d love to welcome you to the Jasper family.

Learn about all the possibilities here!

USC Theatre Takes on Radium Women in Play THESE SHINING LIVES - February 25 - March 4 at Longstreet Theatre

Theatre major Maddie Niles as Catherine Donohue, a character based on a real woman of the same name who fought for justice after contracting radium poisoning from her employer. Photo - Jason Ayer

From our Friends at USC Theatre and Dance -

The University of South Carolina Dept. of Theatre and Dance will present These Shining Lives, a drama based on the tragic yet inspiring true story of the “radium girls,” February 25 – March 4 at Longstreet Theatre.

Based on actual events, These Shining Lives reaches back almost a century to uncover a harrowing history that still has profound resonance to our society today.  Through poetic and powerful language, playwright Melanie Marnich tells the fateful story of female factory workers in the 1920s hired to decorate watch faces with glow-in-the-dark, radium-based paint, a substance their employer refers to as “medicinal.”  As they begin developing serious illnesses from radiation exposure, they soon realize the company’s complicity and wage a legal battle to bring it to justice.  The case would go on to have far-reaching consequences on workers’ and women’s rights in our own time.  

Guest artist Ibi Owolabi, an Atlanta-based professional theatre director, has returned to campus to helm the production.  Owolabi previously directed You on the Moors Now in April 2021 for the university.

The director says the experience of the women portrayed in the play feels especially relevant now, as we enter the third year of a pandemic that has so drastically affected the way we live and work.

“If we were to do this play even two years ago, our mindset would have been so different,” she says.  “After experiencing the pandemic for as long as we have, I think we understand fear in regard to mortality and sickness a lot differently than we did before.” 

The story’s parallels to recent pandemic-related labor issues also resonates with the director.  “[The pandemic] has put things in perspective,” she explains.  “The ‘great resignation’ that we’ve seen happen recently, with people not accepting the same working conditions they did before the pandemic, reminds me of how our perspective changes when we’re faced with a life and death situation.”

The historical facts of the “radium girls” case can seem like a horror story.  Employees of the U.S. Radium Corporation, the women were required to keep their paintbrushes sharp by “pointing” them between their lips.  With repeated exposure over several years, radium seeped into the workers’ bones, causing anemia, jaw decay, spinal collapse and, in some cases, death. However, Owolabi says Marnich’s retelling of the story isn’t all gruesome details and tragic outcomes.

“What I think this play does so well is that it focuses on the humanity of these women in addition to the facts.  [Marnich] unfurls the history in a way that is suspenseful but also feels like a personal journey.”

Cast in the production are undergraduates Jesse BreazealeZoe ChanMaddie NilesEmily Paton and Alec Thorn, and graduate theatre student Isabella Stenz.  The production’s designers include graduate theatre design students Ashley Jensen (scenic) and Kyla Little (costume), undergraduate media arts students Aubrey Eastin and Rylee Milz (projections), theatre design professor Jim Hunter (lighting), and guest artist Danielle Wilson (sound).

Owolabi sums it all up as “a riveting look at what seemed like a shining opportunity for these women.  It’s about what it means to assert your individuality and to assert your humanity when you’re faced with a corporate giant.”

“I think the playwright really gave these women justice.”

Show time is at 8 p.m. Tuesday through Saturday, with additional 3 p.m. matinee performances on Saturday, February 26 and Sunday, February 27. Admission is $15 for students, $20 for UofSC faculty/staff, military, and seniors 60+, and $22 for the public. Tickets may be purchased online at sc.universitytickets.com. In keeping with university safety protocols, masks will be required of all audience members, actors and crew, and seating will be limited to allow for appropriate social distancing between all patrons. 

For more information on These Shining Lives or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu

 

Writer Carla Damron is More Than a Writer and a Social Worker - She Uses Her Art to Shine a Light on Some of Our Greatest Social Woes Including Homelessness and Human Trafficking

“I didn’t realize” were words I often heard in my work. They applied to me, too, back when everything I knew about human trafficking came from episodes of Law and Order. My first awakening occurred when asked to be a guest lecturer at a local college. I mentioned the beginnings of our anti-human trafficking advocacy when a student raised her hand and said, “You mean, like that girl they found in the trailer a few miles from here?”

Carla Damron, author of The Stone Necklace and the upcoming The Orchid Tattoo

I first met Carla Damron when I was working with the Richland Library and One Columbia to grow the One Book/One Community program in Columbia, SC. My personal goal for that project was to always choose a South Carolina writer for our community to read and I had lots of reasons why.

First, I believe it’s important for communities to recognize and support the truly talented among us in any way we can. But second, it’s incredibly important for us to see our friends and neighbors who accomplish major goals and be encouraged by them. Ride their mojo and use it to your own advantage!

The book we chose for our community to read, in conjunction with The State news which published the manuscript in part, was Carla’s 2016 novel, The Stone Necklace, set in Columbia, SC and published by the University of South Carolina Press’s Story River series, curated by the late Pat Conroy.

(I’m not sure what happened to the One Book/One community project since I’m not involved anymore, and neither is the Jasper Project. But, as an aside, I’d love to see it come back to Columbia and I’d love to see it adhere to the loose protocol developed by the Washington Center for the Book at the Seattle Public Library when the project was initiated in 1998. Hit me up if you’d like to work on getting this beautiful community project back up and running and are willing to work on it yourself. It’s a relatively easy project if you have a few volunteer hours in your pocket that you are willing to share.)

I’ve written about Carla Damron a number of times since we first met, and we’ve worked on projects together. She is quite a specimen of humanity in her goals and priorities, and I’m fortunate to call her my friend, writing sister, and fellow Columbian.

Today I want to direct you to two (more) outstanding contributions to our culture that Carla has so generously shared with us.

The first example is a recent essay Carla wrote on the issue of human trafficking and posted on her website. The title is “I Didn’t Realize — The Story Behind the Orchid Tattoo.” You should know that the Orchid Tattoo is the title of Carla’s upcoming novel, releasing on September 6th, 2022 from Koehler Books. This essay is linked above.

But secondly, Carla shared a piece of prose writing that I was delighted to share in the most recent issue of Fall Lines - a literary convergence. For your reading pleasure we present, “Breaking the Surface.”

Breaking the Surface

by Carla Damron

The olive green 1967 Mercury Marquis station wagon bulged with suitcases, bedding, groceries, floats, and our family. My father drove, my mother beside him, a Virginia Slim squeezed between two pink-nailed fingers. Crammed in the back seat: my teenage sister Susan, engrossed in a Nancy Drew novel, me, age nine, in the middle, and my eight-year-old satanic younger brother Freddy to my right. It felt like the drive to Surfside Beach took centuries, though really it took less than three hours. I smiled as we passed the bright blue billboard with the cartoon dolphins leaping into the air. It advertised the best store on earth, known for its pet fiddler crabs and mammoth shark’s teeth that could be purchased for less than my allowance. Every vacation to Surfside included a day at the Myrtle Beach pavilion and a visit to the beloved “Gay Dolphin.”  

            Freddy squirmed like the worm that he was, a bony elbow catching me in the ribs. “Quit elbowing me. Mom, Freddy’s elbowing me again,” I complained, for all the good it did me. I had a permanent concave space under the right side of my ribs.

            “She’s hogging up too much space with her fat butt,” Satan said.

            “Y’all behave. We’re almost there.” Mom let out a loud sigh as she flicked on the radio.

            “You said that a half hour ago.” Susan peeked up from her book, eyebrows arched in criticism.

            Mom tipped the ashes of her cigarette out the partly opened window. Smoke circled the inside of the car and found its way into my nose. I coughed.  

            “Here comes a VW,” Dad said.

I struck first, a quick-knuckled punch on my brother’s arm. “Punch buggy! No take-backs!”

“MOM!” he bellowed, as if I’d hacked him with a machete.  

“Arnold, seriously?” Mom tsked Dad. “Why do you encourage them?”

I spotted Dad’s sly smile in the rearview mirror.

“I’m going swimming as soon as we get there,” I said.

“Not until we get everything unloaded. And that means all of you helping.” Mom flicked the cigarette out the car, a pale torpedo barely missing the back window.

            I settled back in my seat, gaze fixed out the window, and counted speed limit signs. How many until Surfside? Twenty? A hundred?  I had reached number seventeen when another smell filtered through the windows: the unmistakable odor that meant Georgetown.  

            “I smell an egg fart! It’s probably her!” Freddy elbowed me again.

            “I wish they’d do something about the paper mills,” Mom said, like she did every time we came.  I didn’t care about the stink. Because if I closed my eyes, the Sulphur odor faded, and the distinct fragrance of salt, tanning lotion, and sea air filled my mind. I almost tasted my ocean.

***

            Finally, blessedly, we pulled up to the yellow wooden beach house perched on stilts. The checkerboard linoleum-floored kitchen had the basics: single sink, stove, refrigerator, and oven. Susan helped Mom unload the groceries, while Dad did the heavy lifting and Freddy and I fought over bedrooms—simple rooms, with no air conditioning, and generic paintings of seashells over white-washed dressers. 

            Mom tasked me with putting linens on the beds while my brother stocked the bathroom with soap, toilet paper, and towels. We both moved with lightning speed so we could scurry into our swimsuits and flip-flops and head down to the beach. Dad halted us at the screened porch.

            “Nobody swims until your mom or I are ready. So plant your fannies in those chairs and wait.”

            Wait. The hardest word for a kid, and one we heard many times a day. I pushed back and forth in the squeaky rocker as I stared out at sea-oats rippling above sand dunes. The quiet pounding of waves and squawk of seagulls called to me, but I had to WAIT.

            Inside, voices swelled in an argument about missing extra towels. “Really, Arnold. I ask you do to ONE thing,” Mom said.

            “One thing? Who loaded the wagon? Who gassed it up? Who DROVE us here?” Dad didn’t yell, but sort of laughed it out, like Mom was being ridiculous, a tone that might infuriate her and further delay hitting the beach.

            Freddy and I both stopped rocking. No response from her. Good.

Finally, the rest of my family emerged, Susan in her new bikini, Mom in a black one-piece and floppy hat, and Dad in trunks and an unbuttoned shirt, with an embarrassing stripe of white stuff over his nose which was prone to sunburn.  We jumped from our chairs and banged through the screen door, all a-bundle with towels, chairs, rafts, suntan lotion, playing cards, plastic buckets, and a thermos of Kool-Aid. Another container peeked out of Dad’s pocket: silver, small, and shiny, something he rarely went without.

The narrow board walk carried us over the last sand dune and I saw it: a blue-green expanse, white froth in stuttered lines across it. The sky a bold blue that stretched forever. Freddy and I dumped our belongings, kicked off our flip-flops, and dashed to the water. Susan remained with our parents, stretching herself on the blanket and slicking on suntan oil.

Waves crashed over me, surprisingly cold. At our salty feet, the undertow signaled a waning tide. It didn’t matter. Satan splashed me, and I splashed back, and we laughed and dove into a cresting wave. 

When we emerged, sputtering, soaked, and sandy, Dad met us ankle-deep in water. He handed us an inflated raft. “Take turns with this one until the other one’s ready,” he said.

Take turns, he said, like sharing was remotely possible. Freddy grabbed the raft, held it over his head, and trudged out to where the waves were breaking. When a big one surged, he hurled himself on top of the canvas float and rode it to shore like a cowboy on a bucking stallion. “YEEESSSS!” he yelled, as he climbed off.

“My turn,” I said.

“In a minute!” He sneered at me and hurried back to where the waves were cresting, no easy feat with the smaller waves slapping against him.

Another spectacular ride, and my jealousy erupted. When would I get a turn? When Dad finished blowing up the other raft? I glanced at the beach to find him engrossed in a card game with Susan, as though my uninflated float had no importance AT ALL.

“MY TURN!” I bellowed.

Freddy wagged the float at me, and I would have jumped on his head and dunked him if he’d been close enough.

            His third ride was a letdown, a smallish wave that fizzled a few feet from where he started. He stood up and shook sand from his swim trunks.
            “Ha!” I laughed at him.

He tossed the raft at me. “See if you can do better.”

I would do better. I tugged the raft out beyond the foamy sea caps, determined to find the biggest, most powerful wave which I’d ride like a rodeo champion. As the first few rolled under me, I looked further out, and saw it. A giant, magnificent wave rolling in.

I hopped aboard the raft and paddled as hard as I could, hoping to be just ahead of where it broke.  I timed it perfectly. It peaked, white froth exploding against the backs of my legs.

The raft took off like a Thoroughbred. I held on with all my might, holding my breath against the salty water splashing my face. Maybe my family watched this courageous ride, but I all I saw was the roiling foam.

My mount betrayed me. The raft swiveled, the back end pushing forward so that I was lying parallel to the wave. I stroked against the current, desperate to straighten, but it flipped over.

The force of the water pulled me under. I had no air in my lungs. My feet felt for the bottom, but instead felt the unmistakable tug of undertow pulling me out to sea.

I sank as low as I could, touched sand, and pushed, my hands pointed above me. For just a second, my face felt air and I sucked in a deep, frantic breath before another wave pounded me down.

Underwater again, I did my best to swim in what I hoped was the direction of shore. The undertow was a hungry force. My arms and legs ached against its power, but I kept on. When I bobbed up for another gulp of air, another wave knocked me under. And once again, I swam.

When I surfaced again, I saw the shore. Almost there, but not quite, and I felt so tired. A hand gripped my arm. I almost fought it, but I had no fight left in me, and the hand pulled and guided me until I stood on sand, safe, chest-deep in water.

“The float came in without you,” Freddy said, releasing my arm.

I nodded, unable to speak, as my air-deprived lungs sucked in breath.  

On the blanket on the beach, my mom thumbed through a magazine. My sister dealt cards to Dad, who sipped from his little container. 

“Maybe we should go up?” Freddy asked.

I shook my head. I trudged through the water to the shallowest part and dropped, my heels sinking into the wet sand. My brother sat beside me. The abandoned raft rested on the beach behind us. Three pelicans flew by, skimming the surface of the water.

“Hey, look!” Freddy said.

I tried to see what he was pointing to in the endless green water. It was less friendly than before. “What?”
            “Wait just a second. There!” He grabbed my hand and aimed it towards the descending sun. 

            Two gray lumps emerged, breaching the surface and arcing high above the water before submerging again. Two dolphin.

            “Whoa,” I whispered, not wanting to my voice to scare them away.  They erupted twice more, magic silver beings in a synchronized water ballet, before vanishing into the horizon.

            “Have you ever seen anything more beautiful?” I asked.

            Freddy didn’t answer.

Voices cut through the sea air from behind us: an argument between Mom and Dad about dinner arrangements. I let the pounding of the waves drown them out. For the next six days, I had the sand, my ocean, and one of two inflated rafts.

I would keep steady vigil, in case the dolphins came back.   

~~~~~

 Carla Damron is a social worker, advocate, and author of the novel The Stone Necklace, the recipient of the 2017 WFWA Star Award for Best Novel. Damron also authored the Caleb Knowles mysteries as well as numerous essays, and short stories. Damron’s careers of social worker and writer are hopelessly intertwined; all of her novels explore social justice. Currently Damron volunteers with Mutual Aid Midlands, League of Women Voters, and is the president of a local Sisters-in-Crime chapter. She works for Communities in Schools and Rutgers University. 

http://carladamron.com/

PRINT WORTHY: MALIK Green from the Pages of Jasper Magazine Fall 2021 + NEW WORK

Keep your eye on this outstanding young artist!

In fall 2021, the Jasper Project ran a brief article on emerging artist Malik Greene. Since then, we’ve been keeping an eye on Malik and his work and, as we suspected it would, the quality has continued to improve and the content has continued to venture into braver, more dynamic, and more unsettling territory.

Below, please find our original interview with the artist and, following that, a sampling of some of Greene’s powerful new art.

JASPER: First, tell us about yourself, please. The normal stuff -- how old are you, where are you from, where did you go to school? 

GREENE: Hey, what’s up, my name is Malik Greene, I was born on July 8th, 1997. I was born and raised in Columbia, South Carolina, but in 2019 I received my bachelor's degree in psychology with a late minor in studio art from Coastal Carolina University. 

 

JASPER: How did you get started painting? 

GREENE: I've always had a curious mind and just wanted to find my own way to be different turned me to an exploration of self; figuring out where I stand in this world and what it is I want to accomplish in my time here honestly led me to dabble my hand in anything that conveyed self-expression. As a kid, I gravitated towards art forms such as illustration and clothing design through learned experiences with family and friends, but I developed a strong passion for painting my second semester of college. I actually made my first painting on the floor of my best friend’s dorm freshman year, so I have a pretty vivid memory of my origin as an artist. I remember ripping up an old trash bag and splattering paint as my heart desired. After I made this first painting, I unintentionally started a fire that still burns today and one painting turned into two and two into four now my entire life is covered in paint… I love it! 

 

JASPER: What’s your favorite medium? 

GREENE: I think for me I love how tangible paint is, so I'm constantly amused by how it moves, dries, is applied -- it's almost like a science for me mixing the paints. specifically, I am intrigued by the naturalness of oil paint, and I love that from its origin until its completion finishing a painting is almost like solving a puzzle.

  

JASPER: What visual artists have influenced you and your work most and why? 

GREENE: I think for me I like to be my own biggest influence. I kind of love that I do not know of any artists who create work that looks like mine, especially in my geographic location! My work is uniquely mine and I love how it is strengthened based on the fact that it comes from my own conception. Of course, I have been inspired and have artists that I do admire. George Condo was the first artist whose work I researched greatly and early into my creation of art he was definitely my biggest influence.

Art goes deeper than just something that is pretty I think art can make one uncomfortable and curious respectively, so I seek artists who entertain my psychology and the unconscious pleasures. From older, more venerated artists like Kerry James Marshall (who has become my favorite artist) and Lucian Freud who plays around with texture to younger artists like Gerald Lovell and Reginald Sylvester II, I am truly inspired by artists who do things their own way, aren’t afraid to break the rules and are still extremely aware of these same rules they break.

 

JASPER: Tell us about why you paint – what’s your mission and what are you trying to communicate to your viewer? 

GREENE: For me, my mission is to be able to live a life not controlled by the stigmas that are placed on everyone in this human experience. I think a lot of the things that we as people have been taught are tailoring us to live a carbon copy cookie-cutter "American Dream" -- but who even created that standard? No one asked to be on this earth so it bugs me even further that those expectations are placed on people, why can't we just live life? Do the things that make us happy and inspire others to do the same with what little time we have.

I do believe the role of an artist is to speak on the world that is around them. So, if the world of politics is full of issues, and this is what I see in my world, I think it does become my job to relay my message. I think oftentimes people and artists get pigeonholed into what they should be expected to be, but the only expectation I place on myself is to make the best art I can make while staying authentic to my own story.

 

JASPER: Can you talk more about your Baby Boy exhibition recently held at Stormwater Studios in Columbia?

GREENE: My debut solo exhibition titled ‘Baby Boy’ is literally like my baby, it opened up July 9th, 2021, and closed July 18th, 2021. The title came from just the feeling and sentiment of me always being “Baby Boy” to those closest to me. I’m the youngest of six siblings so to them, to my mother, to those who know me the best I am always a baby boy no matter how old I am. This exhibition was to convey the many sides of me more as a man. Like a coming home for me celebrating the many sides of me the world may never see.

I felt as if the exhibition went extremely well and brought a lot of attention to me and the works that I have put so much time, effort, and love into. It was such a relief to see my work on the walls and to have the feeling of completion. To know an idea of mine was nurtured, developed, and made into a reality empowers me and that alone makes me certain my exhibition was successful.

 

JASPER: As a young Black artist, what are your specific challenges? 

GREENE: I think the biggest challenge for me as an artist is just being labelled solely a “black artist.” I think I am an amazing artist in general! I want to break the barriers and walls that black artists face where they are seen as only “good for a black artist” or the feeling of making art based on the plight of my ancestors. I choose to make art that brings me progression and strength. I think for me and a lot of other artists who are black we get placed in a box of making contrived art as opposed to art that genuinely speaks and has a message.

I love making art that speaks for those who look like me, who feel like me and those who have felt as I have felt before. Within that umbrella those who identify with me may not be black, but within my art I represent what is tangible to me. I find strength in my identify, but the sentiments of my identity span deeper than me just being black. I think that what I create, and the content of my work is what makes me great, I just so happen to be black.

I think another challenge for me is just having a point of reference that looks like me. I’ve been lucky enough to come across some amazing individuals who have motivated me to continue pushing further but when I see my 8-year-old self I wish I had someone pushing me to be better.

As someone who is self-trained, I don’t have a million references or resources, but for me instead of seeing this as a challenge I see it as an opportunity to be what I didn’t have.

 

JASPER: What’s next for you? 

GREENE: I honestly see myself just diving deeper into my process and the narrative of Malik the artist. My work is directly related to where I am in life so to be inspired to work, I have to experience life. For the better or worse, see some things, do some things better, and feel some things. It’s exciting to know as long as I have my hands, I have a gift no one can take from me. . 

Jasper Talks with February Tiny Gallery Artist, Musician and Painter Adam Corbett

“There are several heroes, a ghost or two, a couple of villains, some victims, and comic relief characters in this show…in your version you might pick a different hero and shift all the roles, and I think that would be fantastic” — Adam Corbett

 

RED by Adam Corbett

Adam Corbett is no stranger to the Columbia art scene, having played concerts for years and now beginning to show his art at markets. For his first gallery show, he has curated ten pieces, ten characters, with unique stories to tell. 

Learn more about Corbett, his background, and his current show in our recent interview.

 

JASPER: Did you grow up around art, or is it something you came to as an adult? 

CORBETT: I grew up in Lexington. My mother is an artist, and my grandfather was as well. Mostly they would paint things for their own homes or gifts for someone, but it was for sure a part of my childhood. My family also ran an after-school art/activity program for most of my childhood.

 

JASPER: So, when did you begin to get into art, and where did you start? 

CORBETT: Middle school band was my way into music, honestly. I had tried some things before that—mom and dad both play piano—but something about fifth grade band (with Mr. Rhodes) and that saxophone section really got my brain at the right time. I think I took up guitar that summer, and the cool factor was enough of an incentive there; I was hooked. I started performing and teaching lessons for pocket money around fifteen.

 

JASPER: You’ve worked as a musician for some time since then—what drew you to visual art from there?  

CORBETT: Outside of greeting cards for my mom (family tradition), visual art was something I really just did for myself, to decompress or just pass time. That was until the pandemic happened. I absolutely escaped into carving, painting, cartoons, and little doodles during the most troubling times of 2020. Watercolor painting became a daily mental health thing very quickly. I’m always playing with different materials and art forms, but I don’t see myself giving up my watercolor practice anytime soon. 

Vultura - Adam Corbett

JASPER: If you were to reflect on your visual and aural work, what would you say about their relationship to one another or what is unique about each method of creating? 

CORBETT: To write and perform music is an exercise in vulnerability for me, even if the song is about something silly. I’ve been blessed to sing my songs to rooms full of people who knew the words and joined in. I’ve even had a couple of those moments at shows where I got to point the mic at a mass of people, and they took a chorus. With my paintings the rewarding part is different. With visual art, to me, a success happens when the creation is completed, and then there is a whole other accomplishment in the work being chosen, even if it’s just a “like” by someone. Then there is the big win of someone purchasing and displaying it in their space, wherever that is. The specific feeling of knowing a sad bat-clown man I painted is on display in a stranger’s home somewhere in Columbia is as strong a feeling as those singalong moments; it’s very different but just as strong.

 

JASPER: Do you find you pursue similar themes in your music and paintings, or does each hold an expression of different themes? 

CORBETT: I feel about my themes like a deer feels about headlights. Humor, fantasy, sci-fi, whimsy—all with a heavy helping of grossness, I guess—are some of general themes I’m working with right now. With songs and lyrics, I feel like I’m telling you how I feel, and we feel something together about it. Music taught me that the audience decides what you meant, whether you meant it or not.

 

JASPER: When you sit down to create, regardless of medium, do you go through a specific mental process? Do you have any creation rituals, so to speak? 

CORBETT: I have the most inconsistent creative process—calling it a process at all might be too much. I draw and paint in my kitchen at the counter. I write lyrics in my car a lot. There is something to those places typically being the messiest places in my day to day. Sometimes I'll make an awesome doodle at a social gathering or pull full verses and choruses out of the air. Sometimes a really great piece can go from nothing to done in 20 minutes (but we all know there was time invested prior to that). Other times, I work on a song or painting for months, and it might never see the light of day. The quality of the work doesn’t always go with how much time goes into it.

 

JASPER: How do you know when to walk away from a piece? When is it “done”? 

CORBETT: Emotionally, song lyrics are like mantras; if you write a song to sing over and over you will hear those words more often than anyone. With painting there is this moment when a painting is done. The idea of adding more paint to it is out of the question. Lyrics never feel that way to me.

 

JASPER: When piecing together this show, how did you go about selecting works? Are there any larger ideas or concepts tying it together? 

CORBETT: I painted “Red” to round out my show to ten pictures, and I selected the other nine from what work I had done over the last year. I picked out what images I thought told the most story individually while also telling a larger story as a group. There is a bit of a fantasy theme throughout. There are several heroes, a ghost or two, a couple of villains, some victims, and comic relief characters in this show. I think the story will be best if I let you (the audience) decide who is who. In your version you might pick a different hero and shift all the roles, and I think that would be fantastic. 

Horns - Adam Corbett

JASPER: Looking back at showings you’ve had of your art; do you have a favorite memory? 

CORBETT: At one of the first markets I did, there was this young kid, maybe like 11 years old. They thought all my art was cool and told me so. I haven’t received a better accolade yet.

 

Corbett’s show will be up until February 28th, and his work is available to peruse and purchase 24/7 via Jasper’s virtual gallery:

 If you want to follow Corbett, check out his music here: https://adamcorbett.bandcamp.com/ and his art on Instagram @s4d4mz

THE BEAT - Review: Katera - Fear Doesn’t Live Here

By Kyle Petersen

Although Fear Doesn’t Live Here is technically Columbia R&B singer/songwriter Katera’s debut album, she’s long been one of the most intriguing voices in our music scene. Many of the songs on this record have been available online and in her set list for years, so there’s a way in which this record feels like a culmination of sorts, the conclusive exclamation point on the gradually building recognition of Katera as one of the great artistic talents in our city. 

A gospel-trained singer who taught herself guitar in order to burnish her performance and songwriting talents, Katera presents herself as a true student of both the pop-rock and R&B traditions, excelling at brisk, lithely constructed tunes. The lead-in intro “Hate Me Now” has her confidently riding a hook-filled, loping beat that builds gracefully into the sumptuous R&B groove of “Refund (I Don’t Love You),” a pocket-heavy performance which in turn is framed against the throbbing acoustic pop-rock strums and triumphant chorus of “DNA.”  

That opening salvo establishes both the songwriting range and the polished studio techniques that Fear utilizes. As a guitarist and arranger, Katera leans towards punched-up versions of the warm tones of neo-soul and the casually athletic vocal multi-tracks of early 2000s contemporary R&B. It’s a potent blend, and one that could carry the record of a lesser songwriter, really. 

But Katera excels as a songwriter first and foremost, with a distinct sense of character and charisma that, in addition to her technical skills, really fosters her album’s identity. Tracks like “Single” and “No Phone Calls” present a humbly confident twist on women’s empowerment anthems, toying with the romantic themes of the genre while offering a distinct perspective. This is perhaps most evident on “Rush,” the pulsating centerpiece of the record which gracefully pulls back against a breathless melody and giddy chord progression as Katera and featured rapper H3RO articulate the desire to slow down a relationship as a couple feels tempted to succumb to urgent longing.  

There are lighter and more playful moments here too (“Superhero” and “In Love with the DJ”), but it is her distinctive spin on R&B romance that makes Katera’s first album such a triumph. Most debut records are usually about the promise of the artist, but this one is truly more a demonstration of a fully realized vision.

Featured Fall Lines Contributor: ERIC MORRIS and his Short Fiction, THE GIFT BEFORE

Eric Morris - photo credit Susan DeLoach

Throughout the year we like to feature some of our literary artists whose work appears in the Jasper Project literary journal, Fall Lines - a literary convergence.. Today, we’re featuring a piece of short fiction from Eric Morris, author of Jacob Jump, USC Press, 2015.

A native of Augusta, Georgia, Eric Morris is a production designer for the stage and teaches at the University of South Carolina. He is the author of Jacob Jump, a Story River Book selected for publication by USC Press editor-at-large, the late Pat Conroy. Morris holds an M.F.A. from Western Illinois University and a B.A from Augusta College. His professional work includes productions for dance, theatre, opera, live music stages, and trade shows. Morris writes and records as one half of the musical duo Classes of Dynamo. He lives with his wife and son in Columbia, South Carolina.

The Gift Before

By Eric Morris

 

            This child dances as she learns to walk, because dancing is the first thing. It is the first thing and it will be the last. This child taught no light of fire is needed to dance and neither speech.

            Her grandmother lay in bed silent and not opening her eyes. Her hair now loosed from her bun in tributary about her head as white as the heart of fire. She did not open her eyes or speak for two days, as if to tell, I am tired and it is time to rest now, and all of you can do this without me. The child stood alone in the room at her grandmother’s bedside, almost a teenager, becoming stronger every hour, tall and learning by legacy, fast within her growing body the unspeakable language of art. The third day when her grandmother wakened they looked upon each other viewing in brimming pools the same clear gray eyes they had been born into.

            “Take my hand, baby.”

            Their hands thin and elegant and of the same nature and intelligence, though two generations apart. Hands of a selfsame history and destiny, reaching one for the other, layered in embrace a last time.

            “Yes, Gran.”

            “You know y’all are going on without me.”

            “Yes, Gran.”

            “Baby, you know what to do, now. You know the gift, don’t you?”

            “Yes, Gran.”

            “I know you do. And you will always respect it, won’t you.”

            “Yes, Ma’am.”

            “I know you will. Because you know why.”

            “Cause--”

            “Ah.”

            “Because. You said it is what I have, and I will always give it, and it is my way of helping.”

            “That’s right baby. When they see the truth of it in you, they see something about themselves. And that is how we help one another along. I have seen you and I have watched you, and you are the one. It was taught to me and I taught it to your mother, and when she teaches it to you I can see you are the one. And that is a precious thing. And why.”

            “For within our gift resides all there ever was or will be.”

            “That’s right, baby. That’s right. Now, you can remember this, yes?”

            “Yes. I will remember this.”

            “I know you will. Alright, baby, you go get them now.

            “Ok, Gran.”

            This blooming child goes to her Grandmother’s walnut chest and kneels to open the third drawer. She knows these shoes and has held them many times. The rosin taken from a lightning struck yellow pine still staining the platforms, pleats and soles, the ribbons yet stitched to the bindings, sewn the morning of Mary’s final performance.

            “These are yours now. To keep right along.”

            “I love them.”

            “Yes, baby.”

            “Thank you, Gran.”

            “You knew they were already.”

            “I know.”

            “Alright, baby. Now I want you to go and get your mother and your father and any who want to come. This will be the end of it.”

            “Oh, Gran.”

            “Now, no. Don’t, baby. You know better than this, we talked about this.”

            “But can’t I cry.”

            “Yes, you can. But after, then you can cry, after. Like we said. Like we agreed. You cry then you stop crying. I don’t want to see that pretty face sad. I want to see your light. You do that for me. Now call them in.”

            When they returned to her grandmother’s room, the body of her family stopped and attended. Mary had risen from the bed and she was away from it in the center at the footboard. She stood without aid from human or device and she made a slow dance at the cheval mirror in her bedclothes and bare long feet with her hair spilling loose, white as the heart of tumbling fire. This elegant woman speaking a last time the unutterable language of truest art in the moment of its creation. She danced slowly turning with her arms aloft, and her aged body making a final figure, the same posture as statues and paintings from the ancient world cast in unknowable times, the form that is telling of things to come because a woman’s arc is the most beautiful thing made, then and now, and too is the most enduring, the truest, the most heartbreaking. The most unreachable.

            Her grandmother danced slowing, a final turn with her twin mirrored, her arms assuming en bas down by her side, the line of her core easing, giving to the end of her days.

            Alright,” she said softly. “You all can help me now.”

            And they took her and returned her to bed.

            “I’m closing my eyes now,” she said to all of them, taking each of them in, and finishing at her granddaughter. “I’m closing my eyes now, Maryanne baby, but I will see you. I will see you.”

The Beat: Sports and Music Don't Mix--Or Do They? Tales of Sports Related Gigs Gone Wild By Kevin Oliver

Sports and popular music have a long, intertwined history, from Super Bowl halftime shows to the Beatles playing Shea Stadium, longtime home of the New York Mets and the New York Jets. (And who can forget the “Jock Jams” phenomenon?”) On a local level, the relationship tends to be one of competing for audience attention, as the screens in the bars got bigger and the stages got smaller. Being in a college town like Columbia makes it especially challenging for bands booking gigs on game days. On one hand, the venues are full of customers, drinking, eating, and a captive audience for the lucky band on the calendar. On the other hand, that audience is there for the game, not the music, usually, and that can present challenges that make it a less than great experience for the musicians just trying to do their job.

Kevin Pettit, currently of the band 48 Fables, has been around the local scene for years and originally gained some notoriety as a member of Celtic rockers Loch Ness Johnny, where he had his own memorable sports vs. music moment.

“We were playing at the Flying Saucer in Columbia on a college bowl game weekend, and it was packed–I think it was Florida playing someone I can’t recall,” He says. “The big screen television in the bar was facing us on the other side of the room from the stage, and somehow we were able to time several song endings to coincide with a touchdown being scored in the game. So, when the crowd went crazy because someone scored, we took a bow and thanked ‘the great audience.’ It was good, silly fun.”

Not much has changed, according to Chris Reed, who plays both cover gigs and original music with his band The Bad Kids. “I played during the last Clemson-Carolina football game,” He says. “There was definitely a lot of oddly timed applause, which is awkward as hell but in the end it’s all just part of the job.”

It isn’t just football fans who can initiate some great sports-related gig stories, though. Bassist and guitarist Darren Woodlief, who has played around town with numerous acts, remembers an early gig with his rock band Pocket Buddha as an especially memorable evening.

“The band was me, Dave Britt, and Zack Jones, and this was our first sort of out of town gig over in Camden for the Carolina Cup steeplechase race day,” he says. “We were at a bar downtown that was a welcome respite for many very drunk folks who'd been out in the sun all day, a good number of whom may not have actually seen a horse. We played all the cover songs we knew and at the end of our 3 hours a small group of equine enthusiasts were not ready for the party to be over. After some negotiation, we agreed to play another 30 minutes for $50 bucks each. Rejuvenated by the bonus and the chance to again play the songs we knew best, we did our thing and left feeling exhausted but grateful.”

Just like not every game can end in a win for your team, not every gig on a game day turns out great. Josh Roberts, who has toured with his band The Hinges for years throughout the southeast and beyond, can attest to how bad timing can ruin a gig.

“The Hinges were playing Tasty World in Athens, Georgia on the night of the Carolina/Georgia game, maybe 2008 or 2009. It was a solid lineup, all the other bands were from Athens, and everyone was having a good time, hanging around the venue all evening, excited about the show.  Then, what wasn’t supposed to happen did, and the Gamecocks beat Georgia in an ugly game. We watched it at the venue, and at the end you could feel all the air let out of the town. It felt bad everywhere. The show was totally deflated. Hardly anyone came, and that strange feeling in the air just stuck around.” 

The Hinges’ bad luck followed them home in 2010, he adds.

“During the 2010 SEC championship with Auburn and Cam Newton vs. the Gamecocks, the same thing happened in Columbia. We were playing The Five Points Pub, which we had been reliably packing full of folks. We sound checked early because of the game, went elsewhere to watch it, and when it was over we could just feel it then, too. City deflation. Very small turnout and a strange feeling over everything.”

It wasn’t all bad for the band in either case, however, as non-football fans who are fans of a band don’t really care who won or lost, they just want to see their favorite band play, Roberts notes. “I will say that in both those cases a bunch of serious music fans came late and had a good time. I got the feeling a lot of those folks were anti-sports in general, and were pointedly not going to let something like that mess with their show.”

And then there are the experiences that have nothing to do with the game outcome or the distracting televisions. Sometimes it’s just professional musicians trying to get things done, and they wind up improvising.

Fiddler Jim Graddick remembers a 2013 incident where he was invited to play the Carolina/Clemson halftime show at Williams-Brice Stadium with banjo legend Randy Lucas.

“It was Dick Goodwin’s idea to have a bluegrass band play ‘Dueling Banjos’ with the Carolina band,” Graddick says. “They let us in without tickets since we were with the marching band, and when I went out to use the restroom about halfway through the second quarter, security wouldn’t let me back in since I had no ticket. I explained that I was playing the halftime show, to which the guard flatly responded, ‘Yeah, sure–me too.’” 

Of course, there are many musicians who are also big sports fans–who can forget the famous line in Hootie & the Blowfish’s hit song “Only Wanna Be With You” where Darius Rucker namechecks his favorite NFL team with the line “You wonder why I’m such a baby, ‘cause the Dolphins make me cry.” 

Patrick Davis is a well-known Gamecock supporter, writing and releasing several classic song tributes to USC sports teams. His sound and production crew lead of choice, local audio engineer Wayne Munn, remembers how they would sometimes have to make allowances for those gigs that clashed with USC game times. “We did a show at (NASCAR driver) Michael Waltrip’s house the day of a Carolina/Clemson football game with Patrick and the band,” Munn says. “We set up iPads behind the edge of the two front walls of the stage, so the band could watch the game as they were performing.”

So, wherever you choose to watch the Super Bowl this week, or any other major sporting event, if there is a local band playing there at the same time you should at least try to applaud at the right time–and drop in an extra tip, as the musicians are working a little harder than usual to have a good gig.

Artists for Africa Hosts 9th Annual PostCard Event in Support of Original Art and Kenyan Youth

When Cooper Rust traveled to Nairobi, Kenya, in 2012 as a volunteer dance instructor, she didn’t expect the experience to stick so strongly to her skin. It did, however, and soon after her return to the states, she founded Artists for Africa, a non-profit organization that supports and provides dance, new experiences, education, and shelter to Kenyan youth.

 In the past decade, the organization has grown, led by C. Rust (Executive Director) and her sister Brie Rust (President), and now hosts a plethora of events in both Kenya and South Carolina, such as bringing dancers from Nairobi to study and perform at the University of South Carolina. 

One of these events, almost as old as the organization itself, is the PostCard Art Event, an evening that pairs small, postcard sized art with drinks and finger foods for a collaborative, community-oriented experience. Next week, the 9th annual PostCard will be held at the Hilton Garden Inn. 

The evening begins with a cocktail hour and appetizers in the spacious lobby, and at 7:00pm, the ballroom will open to reveal the art donated from various established and emerging artists across the United States. Patrons can peruse the art for around an hour as they continue to enjoy drinks and snacks. 

Over 50 artists are included in this show, including some familiar Columbia names like Bonnie Goldberg, Bill Davis, Rob Shaw, Rebecca Lynn Horne, and the Honors Art Students at Dreher High School

The art is available first come, first serve, for $65 per 4” x 6” piece. While the artists sign each piece, these signatures are on the back. Thus, before purchasing, the artist remains anonymous, and patrons are able to select art based on individual desire and attraction. Beyond the small art, larger pieces will also be available, including jewelry and ceramics, each appropriately priced. 

PostCard Art is one of two major annual fundraisers for Artists for Africa, making it one of the organization’s vital events. “100% of the profit goes to support our mission of providing arts and educational opportunities to vulnerable children in some of the world’s poorest slums in Kenya,” B. Rust shares. 

The organization is particularly looking forward to this year’s event after having to move online during the pandemic. “We are very excited to see everyone and share the evening,” B. Rust says. “We have moved our event to the Hilton Garden Inn downtown and are really excited to share this newly renovated space with everyone.” 

B. Rust credits and thanks the group’s Board of Directors, plus their friends and family, for the time they have and will donate to “organize each detail, set everything up, and get it all wrapped up at the end of the evening.” Further, the expenses of the event are generously covered by sponsors, so all money from ticket sales will go directly to Kenya and C. Rust’s efforts in Nairobi. 

If you want to see unique art and support education and opportunity for African youth, be sure to attend this year’s PostCard Art. The event will be Wednesday, February 16th at 6:00pm at the Hilton Garden Inn in Columbia. Tickets are $30 in advance and $35 at the door and can be purchased here: https://www.brownpapertickets.com/event/5344995  

Don't Miss Complexions Contemporary Ballet at Harbison Theatre!

One thing that anyone who knows anything about professional dance can agree on is that Columbia does not have enough contemporary ballet. Between the Tutu Wars and our dance scene being frozen in a time when full length fairytale ballets ruled the day, (read: the 1980s), we typically only get to see what the rest of the world of dance audiences sees when City Ballet does Body and Movement Explored (coming up soon!) or when the new Columbia Rep Dance Company performs.

Thankfully Harbison Theatre at Midlands Technical College, under the direction of Kristin Wood Cobb, has a place in its heart for progressive and cutting edge performing arts, including dance!

Coming up on Friday February 19th and for one night only, Complexions Contemporary Dance Company will perform “Stardust: From Bach to Bowie” at Harbison’s state-of-the-art theatre, just off the highway in Irmo.

Rescheduled from the 2019-2020 season, Complexions presents Stardust From Bach to Bowie as a tribute to two fantastic artists who each founded his own musical hemisphere. The show includes "Star Dust," dedicated to the one and only David Bowie, plus an additional repertory set to music by Johann Sebastian Bach. This world-renowned company has been featured on So You Think You Can Dance in the U.S. and Australia.

Complexions was founded in 1994 by Master Choreographer Dwight Rhoden and the legendary Desmond Richardson with a singular approach to reinventing dance through a groundbreaking mix of methods, styles and cultures. Today, Complexions represents one of the most recognized, diverse, inclusive and respected performing arts brands in the World.  Having presented an entirely new and exciting vision of human movement on 5-continents, over 20-countries, to over 20-million television viewers and to well over 300,000 people in live audiences, Complexions is poised to continue its mission to bring unity to the world one dance at a time. 

Complexions has received numerous awards including The New York Times Critics’ Choice Award. It has appeared throughout the US, including the Joyce Theater/NY, Lincoln Center/NY, Brooklyn Academy of Music/NY, Mahalia Jackson Theater for the Performing Arts/New Orleans, Paramount Theatre/Seattle, The Music Center/Los Angeles, Winspear Opera House/Dallas, Cutler Majestic Theater/Boston, New Victory Theater/NY, and Music Hall/Detroit, The Bolshoi Theater, The Kremlin, The Mikhailovsky Theater, Melbourne Arts Center, and will make it's debut at the Kennedy Center in 2017, as a part of Ballet Across America.​

The Company has appeared at major European dance festivals including Italy’s Festival of Dance ,the Isle De Dance Festival in Paris, the Maison De La Dance Festival in Lyon, the Holland Dance Festival, Steps International Dance Festival in Switzerland, Łódź Biennale, Warsaw Ballet Festival, Kraków Spring Ballet Festival, the Dance Festival of Canary Islands/Spain, and the Festival des Arts de Saint-Sauveur/Canada. 

In addition, Complexions has toured extensively throughout the Baltic Regions, Korea, Brazil, Japan, Egypt, Israel, Russia, New Zealand, Bermuda, Serbia, Jamaica, and Australia. 

The company’s foremost innovation is that dance should be about removing boundaries, not reinforcing them. Whether it be the limiting traditions of a single style, period, venue, or culture, Complexions transcends them all, creating an open, continually evolving form of dance that reflects the movement of our world—and all its constituent cultures—as an interrelated whole. 

In 2006, Complexions held their first Summer Intensive program, serving 80 students in its first year. The program has grown to multiple cities and serves over up to 600 students annually. Since 2009, a Winter Intensive was added to the roster, serving an additional 400 students, and CCB added its Pre- Professional Program in 2016.  Complexions’ artistic directors and company members teach master classes throughout the world, sharing the Complexions technique with dancers of all levels.  

Together, Rhoden and Richardson have created in Complexions an institution that embodies its historical moment, a sanctuary where those passionate about dance can celebrate its past while simultaneously building its future. In the 27 years since its inception, the company has born witness to a world that is becoming more fluid, more changeable, and more culturally interconnected than ever before—in other words, a world that is becoming more and more like Complexions itself.

~~~~~

Before they take the stage at Harbison Theatre at Midlands Technical College on February 18, the phenomenal dancers of Complexions Contemporary Ballet (CCB) will be in residence!
 
Dancers from the internationally renowned company will teach two 90-minute advanced master classes for advanced dancers from 1:30pm - 3pm. HT@MTC has partnered with the University of South Carolina to host the classes at the UofSC dance studios. The two classes will run concurrently and will be taught by Jillian Davis and Simon Plant of CCB. In addition, a workshop relating to Complexions' repertory and performance style, as well as topics such as improvisation and composition will be offered. Classes are open to University of South Carolina dance students.  For more information, please contact the dance program at dance@sc.edu

Dancers from CCB will also teach two 90-minute community/intermediate classes for dance school and some high school students from 3:30pm - 5pm. These classes will also take place at the UofSC dance studios. The two classes will run concurrently and will be taught by Timothy Stickney and Larissa Gerszke of Complexions. In addition, a workshop relating to CCB repertory and performance style, as well as topics such as improvisation and composition will be offered. Please sign up using the form below for more information about this class. There is no charge for the classes; however, dancers will need to sign waivers and wear a mask while in class.

Master Class: 1:30pm to 3pm | Friday, February 18

Community/Intermediate Class: 3:30pm to 5pm |  Friday, February 18 (register here)

CALL for Site Specific Visual Art via Our Friends at CCA

701 CENTER FOR CONTEMPORARY ART 

MILL DISTRICT PUBLIC ART TRAIL OPPORTUNITIES 

We were excited to hear about this unique opportunity for visual artists to break into site specific/public art offered by the good folks at 701 CCA that we wanted to help them spread the word.

Here’s what we know —

701 Center for Contemporary Art (CCA) is seeking artists to develop and execute site-specific works for five gate houses located on the grounds of the historic Granby and Olympia Mills as part of CCA’s Mill District Public Art Trail. The mills are twin Romanesque Revival style, four-story structures designed by W.B. Smith Whaley & Company - the leading mill architects of their time. Once considered two of the most architecturally significant textile mills in South Carolina, today the two massive buildings have been repurposed for residential mill living.  

The application deadline is Wednesday, March 9, 2022.

Budget 

The budget for each gate house is $3,000

Public Art Opportunities

Five gate houses located in front of the two mill buildings offer unique opportunities for site-specific works. The structures were built during WWII.  Designed to compliment the architectural elements of the mill buildings, the Olympia Mill gate houses feature arch-shaped windows and a frieze consisting of terracotta arches. The less decorated Granby Mill gate houses feature dentil brick molding and sash windows.  

The gate houses will function as changing exhibition spaces for temporary public art projects. The projects will be installed for a minimum of one year.  Each gate house is 10’x10’ with a modest interior and lighting. Access to the interior is through doors on the rear or side of each structure. The gate houses are not air-conditioned or heated. Artwork must be able to withstand extreme weather conditions. 

The exteriors of the gate houses are protected under the City of Columbia historic preservation ordinance. Attachments to the exterior are not allowed. 

Eligibility 

Artists working in media appropriate for non-conditioned environments and styles are eligible for consideration. Artists may submit individually or as a team. Artist teams must designate one artist as the lead contact. This opportunity is open to professional artists 18 and over. 

Selection Process

A panel of arts professionals will review artists qualifications and make a selection of artists who will be invited to submit a full proposal. Selections will be based on artistic merit, experience with public art commissions and/or installation art and the ability to complete and install the project by June 20, 2022.

RFQ Requirements

  1. Images of up to five completed commissions/installations that demonstrate your qualifications for the project. Please include the title, medium, dimensions, year completed, location, and a short description. 

  2. Artist resume demonstrating a minimum of five years of professional visual art experience. If submitting as a team, a current resume should be submitted for each team member.  Please compile resumes into one document.

  3. Statement of interest in this particular Mill District opportunity

  4. References that include the names and current contact information for three individuals with whom you have worked, collaborated, or who have commissioned your work in the past. References may be contacted for artists invited to develop a proposal for the commissions

    Timeline

Call for RFQ - February 9, 2022

Zoom Q&A - February 14

Zoom Q&A - February 28

Deadline for RFQ - March 12 

Panel Review & Selection - March 13

Notification to Artists - March 15

Deadline for Proposals - April 4

Finalist(s) Notification - April 8 

Finalist(s)  Interviews/Presentation of Proposals on Zoom - April 11

Notification to Finalists - April 13

Site Availability - April 14

Deadline for Installed Works - June 20

Please submit questions to Michaela Pilar Brown at director@701cca.org. Questions and answers will be posted on our website at www.701cca.org


Jasper Poetry Editor ED MADDEN Wins SC GOVERNORS AWARD FOR THE ARTS!

Congratulations Ed!

We’re delighted to report that Jasper Magazine’s own ED MADDEN is one of the recipients of the 2022 SC Governor’s Award for the Arts!

Ed has been Jasper Magazine’s POETRY EDITOR since the founding of the magazine in 2011. He has served as a major advisor to the Jasper Project as well as co-editor of Fall Lines - a literary convergence since its inception. Ed also serves as the poetry editor for our JASPER WRITES column in ONLINE JASPER.

Ed, who won in the Individual category, shares the spotlight with Darion McCloud, winner of the 2019 Jasper Project Theatre Artist of the Year, who won in the Artist category, and Carrie Ann Power who won in the Arts in Education category. One Columbia for Arts and Culture, the organization that grabbed and ran with the proposal that a City Poet Laureate position be created and that Ed Madden be seriously considered for the post, also won in the organization category.

Ed’s bio reads, “ED MADDEN (Individual Category) is a poet, activist, and a professor of English, with a focus on Irish literature, at the University of South Carolina. There, he is also director of the women’s and gender studies program. His academic areas of specialization include Irish culture; British and Irish poetry; LGBTQ literature, sexuality studies, and history of sexuality; and creative writing and poetry. In 2015, Madden was named Columbia’s first poet laureate, a post he maintains today. Madden has been a South Carolina Academy of Authors Fellow in poetry twice and was South Carolina Arts Commission Prose Fellow in 2011. He has been writer-in-residence at the Riverbanks Botanical Garden and at Fort Moultrie in Charleston as part of the state’s African American Heritage Corridor project. He also works with the South Carolina Poetry Initiative and was 2006 artist-in-residence for South Carolina State Parks. His numerous publishing and editing credits include four of his own: NestArk, and Signals and the chapbook My Father’s House, runner-up for the 2011 Robin Becker Chapbook Prize.”

While we are super proud of the accomplishments listed above we’re most proud of the talents and energy that Ed shares with the community on a voluntary basis, such as the work he contributes to the Jasper Project and as the Poet Laureate of of Columbia. It’s a lovely thing to honor a person or organization for doing well the work they are commissioned to do, and it is encouraging to those individuals and organizations to continue to do well the job they are paid to do. But when someone like Ed, who is already inordinately busy directing a university academic program, maintaining and growing his art, maintaining and growing his homelife, and more, chooses to take on more responsibilities because he believes his gifts should be shared FREELY with his community — then THAT is something to celebrate.

Cheers to our friend and colleague Ed Madden, as well as to the other honorees of this year’s SC Governor’s Awards for the Arts. And thank you for making our home a better place!

THE BEAT - Turbo Gatto: Purr-fectly Good Mewsic

By Emily Moffitt

Kevin Jennings and Gina Ercolini are Turbo Gatto - photo by The Wolf

Ever heard of “Cat Rock”? The creativity of guitarist Kevin Jennings and drummer Gina Ercolini, under the band name Turbo Gatto, originally invented the genre to adapt the lyrics of Motorhead songs to be about cats. 

“It was a blast and a lot of laughs for a second, but it led us to discover our own idea,” she adds, “Original garage rock/punk music with lyrics about anything related to cats.”

It has been an entertaining formula, and with musical inspiration from the Cramps on the two-person band’s new album “Bad Mewsic For Bad Cats” they have built upon the original foundation of Stooges power, AC/DC riffs, and Ramones frenzy that have informed the project from the start. It’s all about the riff, Ercolini admits. “A good riff is almost always our starting point; we trust each other to follow where the music takes us from there.” 

They are fully invested in the genre they’ve pioneered, utilizing the self-proclaimed “cat life and love of rock and roll” to not only build their sound, but engage audiences. Their most devoted fans can be seen at shows sporting their best sets of cat ears, willing to play along with the feline frenzy happening on stage. Playing for the fun of it is one of the guiding principles of Turbo Gatto, and it offers Jennings and Ercolini a respite from their other bands, which include MNRVA, and a way to spend more time together making music–they’ve also been a married couple since 2016.  

“We met at karaoke at Art Bar and somehow decided that we had all we needed to start a band,” Ercolini recalls. “We held our first practice three days later and have been inseparable ever since.” 

Turbo Gatto purrs loudest in a live setting, and Jennings and Ercolini are both happy to be back in that environment. 

“Our live shows are always a bit chaotic and teetering on the brink,” Ercolini says. “It takes a certain kind of energy and focus in the moment to hold everything together–it’s both exciting and terrifying.” 

Over the pandemic months, the bandmates used the down time from live shows to write as much new music as they could, and experiment with different influences, but they found that their basic methods of working, and recording, didn’t change much. When it came time to record the new material for a proper album, they also chose not to change anything there. 

“We record everything with Jay Matheson at the Jam Room Recording Studio,” Ercolini says. “He’s spectacular in guiding us to produce the best record we can in a matter of only two days spent in the studio.” The results, she adds, are meant to be fun, no matter how good the playing or the recording process makes them sound.

“One thing you cannot do when playing in a cat rock band is take yourself too seriously,” she concludes. “This is the kind of record you can listen to while driving around town or jumping up and down on the bed eating pizza.”            

The album release for “Bad Mewsic for Bad Cats” will be held at Art Bar on Saturday, February 12th at 7 PM. Also, on the bill in addition to Turbo Gatto are The Transonics, The Buzzards of Fuzz, Warfare Check, and the Black Stare of Soledad Miranda.

THE BEAT is a rotating lineup of music coverage under the direction of Jasper Magazine music editor, Kevin Oliver, that includes local album reviews, in-depth artist interviews and profiles, live show reviews, and all things related to local music in the greater SC midlands area arts community. If you have story ideas, or you’re a local musician, band, or involved with a local project that you think deserves some attention, drop Kevin a line at kevingoliver@gmail.com

February's Tiny Gallery Features Adam Corbett

It’s always exciting to us at Jasper when we get to witness artists cross genre lines to dip their toes in disciplines other than what they are known for. This month, musician and music educator Adam Corbett is doing just that by participating in the Jasper Project’s Tiny Gallery Series. But this isn’t the first time Corbett has wandered from music to visual arts waters. Corbett has been participating in several of the pop up community arts festivals that have become so popular since Covid grounded most of our gallery showings. In fact, Corbett’s little Christmas gnomes, offered as part of Jasper’s Tiny Gallery Ornament Show were so popular that we sold out of his creations.

Corbett is back in the Tiny Gallery this month with a collection of watercolors and mixed media portraits with sizes ranging from 8 x 10 to 12 x 14 and price points from $30 to $125.

Visit Corbett in the Tiny Gallery and snap up one of his original pieces while they’re both accessible and affordable.

Red by Adam Corbett

ABOUT THE ARTIST: Adam Corbett is a multi-instrumentalist, singer-songwriter and visual artist from Lexington, South Carolina. After releasing numerous records, helping to produce a musical, and taking a break from his career as a music teacher, Adam branched out into visual art as a way to cope with the COVID-19 lockdown. Throughout this period, he has experimented with various mediums in a variety of formats focusing always on exploration, play, and following his muse.

The Other One by Adam Corbett

Check out the rest of Adam Corbett’s Show at

Jasper’s Tiny Gallery

Featured Fall Lines Contributor -- Glenis Redmond

My poems come from my core. Then, I pour what percolates onto journal pages. They are hot-inked scribblings, handwritten epiphanies that morph and manifest into soul driven colloquial anthems. My poems stand up – sing and dance of lineage or lack thereof. They come from a deep-seated oceanic need to know about my heritage. What I cannot answer, I imagine. - Glenis Redmond

Glenis Redmond performs spoken word poetry as the Keynote Speaker for the Greer SC Arts Council

In January, the JASPER PROJECT released a combined double issue of volumes VII and VIII of Fall Lines - a literary convergence, our annual literary journal. In the weeks to come we will be highlighting some of the contributions to the journal by featuring the author and their work in ONLINE JASPER.

This week, we’re featuring one of South Carolina’s treasured poets, Glenis Redmond.

A 2020 recipient of the South Carolina Governor’s Award for the Arts and an upcoming inductee into the SC Academy of Authors, Redmond considers herself a poet, a teaching artist, and an imagination artist. From her website we learn that, “Glenis Redmond is nationally renowned award-winning poet and teaching artist traveling the world sharing and teaching poetry. She writes about the strength of her Afro-Carolinian roots, while exploring their weighted and palpable histories. Glenis is a literary community leader. She is dedicated to coaching and uplifting youth poet’s voices. She co-founded a literary program called Peace Voices in her hometown of Greenville, SC from 2012-2019. Glenis is also  Kennedy Center Teaching Artist and a Cave Canem poet.

Her work has been showcased on NPR and PBS and  has been most recently published in Orion Magazine, the North Carolina Literary Review, Obsidian Literature and Arts in the African Diaspora, StorySouth, About Place and Carolina Muse

She has recently won awards for her poems featuring Harriet Tubman (conductor of the (Underground Railroad) Harriet Jacobs (enslaved woman who hid in attic 7 years to escape her owner, then turned abolitionist and writer) and Harriet E. Wilson (first African American novelist). These poems will be published in Glenis’ upcoming chapbook, The Three Harriets and Others  by Finishing Line Press in 2021.  Her latest book, The Listening Skin will be published by Four Way Books in 2022. 

During February 2016, at the request of U.S. State Department for their Speaker's Bureau, Glenis traveled to Muscat, Oman, to teach a series of poetry workshops and perform poetry for Black History Month.

In 2014-18, Glenis has served as the Mentor Poet for the National Student Poet's Program to prepare students to read at the Library of Congress, the Department of Education, and for First Lady Michelle Obama at The White House. The students now read at the Library of Congress. 

Author and T&W Board member Tayari Jones selected Glenis Redmond’s essay, “Poetry as a Mirror,” as the runner-up for the 2018 Bechtel Prize. Teachers & Writers Collaborative awards the annual Bechtel Prize to the author of an essay that explores themes related to creative writing, arts education, and/or the imagination.  

Redmond’s “Dreams Speak: My Father’s Words” was chosen for third place for the North Carolina Literary Review’s James Applewhite Prize and “Sketch,” “Every One of My Names,” and “House: Another Kind of Field” will be published in NCLR in 2019. These poems are about —Harriet Tubman, the most famous conductor of the underground railroad; Harriet Jacobs, who escaped from slavery and became an abolitionist, and the author of Incidents in the Life of a Slave Girl; and Harriet E. Wilson, who was held as an indentured servant in the North and went on to become an important novelist, businesswoman, and religious speaker.

Glenis believes that poetry is a healer, and she can be found in the trenches across the world applying pressure to those in need, one poem at a time.  

Visit Glenis at www.glenisredmond.com 

She Makes Me Think of Houses

For Ruth Noack

I.

I lived in many house. 13 by age 13.

This year, I circle back to my first.

The place where I was born: Sumter, South Carolina.

My birth certificate classifies me: Negroid.

On Shaw AFB. My sister Velinda

7 years my elder cannot attend the school on base.

My father writes a letter to the base commander

for his first daughter to attend.

She’s her own version of Ruby Bridges

Unescorted. Chased by white boys with sticks.

Everyday called, Nigger.

II.

This year I drive 2 ½ hours South

to take my grandson, Julian

to a family fun day

on a black-run horse farm.

We both ride on a horse named, Blue.

Julian’s favorite color.

Bessie Smith sings the hue.

On the way back home,

I see a sign to my birthplace.

I tell Julian I want to drive by.

Visit 57 years later.

Apartments. Projects. Hood.

Sub-standard housing,

a crack-riddled man stumbles towards us.

I have eyes all over my body

I assess the cracked windows

and duct taped doors.

Two dark-skinned girls play

in the street. Double Dutch.

I tell Julian to stay in the car.

I take pictures.

When I tell my daughter

I went there: 45 Birnie Circle.

She says, “This house, not home

does not define you.”

X marks my port of entry.

I see all the angles.

Drive back to my home on Endeavor Circle.

Purchased with poetry money.

I’ve indeed come full circle ‘round.

 

FOR THE CULTURE at the Nick

Rae Groover, who is the marketing and communications manager at Columbia’s Nickelodeon Theatre and has possibly the finest surname we’ve ever heard, has curated an exciting line-up of films for their February FOR THE CULTURE series.

According to the Nick, Reliving Black American Classics, Feb. 4th - Feb. 17th, 2022., “focuses on some of the most popular Black American Classics, ranging from The Wiz to Jordan Peele's Get Out. This series serves as a break from the mundane trauma porn that is often pushed to the foreground when the conversation surrounds the African American experience." Offering “a fun, lighthearted take on the celebration of Black History during Black History Month, For The Culture takes you on a trip down memory lane. You'll laugh, you'll cry, you'll sing, you'll celebrate.”

At Jasper, we’re excited to see our local indie theatre responding to the call of our own local culture by honoring and more deeply exploring the artists, their messages, and, for good or weird, (thinking White Chicks here) the impetus and reception of some of these films. From classics like Crooklyn and Purple Rain to paradigm rattling heartbreakers like Moonlight and The Color Purple , with lots of music and comedy to boot, this series casts a wide net of contributions to film culture by Black filmmakers and specifically for Black audiences.

Kudos to Rae Groover and our friends at the Nick for being here for us as we deepen our insights into a more inclusive and representative understanding of the power of film.

Visit the lineup of films and support your local indie arthouse theatre!

THE BEAT: 5 Questions with Caleb Brown (aka Calebjustcaleb)

First off, I just can’t get over how singular what you’re doing is in terms of fusing hip-hop, R&B, pop-punk and metalcore. There are some larger narratives about emo and pop-punk coming into the hip-hop space, but you’re doing something a bit different than Kenny Hoopla or, say, willow. Tell me about how you arrived at that approach. Did you try and separate them out at first?

Let me preface this answer with the sentiment that the concept of blending genres or subgenres of music in an organic way has been widely practiced for some time now, especially in the music which influenced me as I was coming of age. From bands like Dance Gavin Dance incorporating rap & R&B with progressive guitar based “Core” music, to Drake incorporating alternative/indie sounds in his breakout ‘So Far Gone’ album.  From bands like Woe is Me incorporating R&B vocal melodies with metalcore instrumentals, to huge rap/pop artists like B.O.B & Enimem collaborating with Hayley Williams of Paramore turning into chart topping multi-subgenre hits. The furthest I can personally remember back being inspired by something is Dr Dre’s ‘The Chronic’ which incorporated a great amount of (at the time) “non-industry standard” multigenre production, as well as Linkin Park and everything they did in regards to shifting the “norm” of the industry at the time. What was once seen as only an “underground niche” of music quickly became a chart-topping mainstream soundscape, and the floodgates really opened from there. 

As for more recently, it is for sure impossible to ignore the overwhelming blending of subgenres in literally EVERY commercially popular genre (shifting what the definition of what “pop music” really is, but that’s another conversation for another time) of music. The biggest of country stars are featuring hip-hop artists & beats in their music every day. Trent Reznor of NIN just produced Hasley’s latest album. Travis Barker is nearly single-handedly introducing his personal style of “pop-punk” into huge mainstream artists of all genres (Rappers MGK, Trippie Redd & Yelawolf) (pop stars such as Avril Lavigne, Halsey & Yungblud) (progressive metal bands such as Polyphia) etc. Huge EDM artists like Marshmello featuring A Day To Remember, Kanye West featured on an XXXTENTACION song with metal instrumentation and screaming…It really is blowing up in nearly every facet of mainstream music today. 

I’m not exactly sure if or how my music is any that much different than a ‘Willow’ or ‘KennyHoopla’ besides the fact they are huge artists with millions of fans, and I am not. 

I vibe with some of their music. I think that with this insurgence of formerly considered “niche” genres and subgenres of music raging into the mainstream, it really comes down to personal taste. 

I take pride in the fact that my music is organically created from who I am and a combination of all of my musical influences. I’d rather it be that than a super-formulaic “copy and paste to this template of what we think will produce the most streams” in my writing and collaboration processes. I guess I organically stumbled into a soundscape of music that happens to be blowing up right now, which is cool, but that’s definitely not why I create what I do. 

I wouldn’t necessarily say I “separate” out my music when I create, but I do believe in cohesion

In the time of “the dead album,” attention spans are shorter than ever. So, if I have a collection of songs, I will make sure that if they are on a project together, that there is cohesion within the soundscape (even with the blending of genres). For example, ‘CHD’ and ‘CHDII’ are sonically different, even though all of the songs off both projects were written and recorded at the same time. I did that so the collection of songs would sound more cohesive together as projects.

It’s fascinating how well you move across the entire breadth of these genres. It kind of makes intuitive sense on your solo stuff, but how does it work differently with Aim High? How does the background of the other members take the music to different places?

Aim High was (originally) me attempting to try my hand at soundscapes of music that I loved and have forever been inspired by, but didn’t (as a musician) originally have much experience in making, which is why the first couple of singles didn’t translate the way I envisioned. Thats also why we used to really suck as a band. I was simply inexperienced as a producer & composer to the level where it just didn’t sound good. Aim High was also a way I could allow myself to express what I needed to within this soundscape, at the same time, forcing myself to work in a team to bring the vision to life. As time passed, with growth as a producer, composer, and overall musician, this growth began to translate to substantiality within the band’s more recent music (from our two debut EPs onward). One thing about being in a band from a city that doesn't usually embrace the soundscape of music you make, is that you have to produce objectively substantial content and the whole band has to be dedicated to making it work. After a few lineup changes, we found a team of people who hold these sentiments close and will continue to work tirelessly to provide the most substantial content we can, in all aspects of our music and band. As the all-time executive producer/composer/songwriter for the band, it will always be a very personal byproduct of my crazy and neurotic brain, intertwined with the amazing creativity, musicianship & sauce of my awesome bandmates. 

You said that Corrupted Harddrive Vol. 2 was a collection of “old, unfinished songs,” but it sounds really vital to me. What makes them unfinished to you? Why did you decide to release it as a project?

Correct, both volumes of CHD were a collection of older, unfinished songs (roughly 2017-2018). When I say “unfinished,” I mean that the songs simply were not done. A good amount of them were only on their first mix, no post-production on almost any of the songs, etc. There’s even a single song where my voice is 100% raw and untuned. 

I had the collection of project files stored on my external hard drive, and the hard drive was backed up to the cloud for protection. After returning from tour with Aim High, the drive corrupted & the cloud backup was not accessible. I turned to every tech-savvy friend for assistance, to which the conclusion was made that we could recover some demo bounces, but none of the actual session files. In turn, I would either have to remake half the beats, rerecord all of the tracks, get them all mixed and mastered right, OR simply cut my losses and release the current, incomplete versions of the songs that I could recover. As these songs were very old in regards to the amount of (new) music I have, & the options presented, the latter decision seemed the way to go as my back was metaphorically pushed against the wall. I wanted the songs to be out in the world, but I also wanted to move on to my new music, which Is why I’ve already released a new song off of the new ‘Calebjustcaleb’ project. Time waits for no one and I gotta keep my foot on the gas with this new material. 

You seem to rap a lot more on this record than on CH Vol. 1, and it really showcases your faculty with a lot of contemporary hip-hop (ab-libs/flows/wordplay). Can you talk a bit about how you work on those skills, and how the interplay of that and the more rock-based stuff has worked in your creative growth?

Yeah, this goes back to the sentiment I touched on of “cohesiveness within music” (collections/albums/EPs/whatever have you). There were clear sonic differences in the tracks on the respective volumes of CHD. There were a good amount of songs that were straight to the point rap/hip-hop songs and I feel lumping those with the more “multi-genre soundscaped” songs would not be cohesive and would be detrimental to the listening experience. So two volumes of the project were created, respectively. For some people rap/hip-hop & R&B is “just a phase” and for some people rock/metal/alternative/core music is “just a phase.” I cringe as I type this, but these are not simply “phases” for me. All of these genres are forever ingrained into the influences I have as a musician. Like when or if “pop-punk” sound in mainstream music phases out or becomes “uncool,” I will remain right here, continuing to use my organic influences to shape the music I make. 

Growth is such an important concept. I will always work on learning and growing in every facet of my musicianship, whether it be keeping my bars up, taking vocal lessons, practicing my producing, practicing my flows, studying music theory, studying my influences, etc. I will always strive to be a better artist and make every song just as, if not more, substantial than the last, regardless of genre.

You’ve had a lot of success collaborating with other artists, both in Aim High and as a solo artist. What would you say your favorite collabs have been? How has that fueled your work?

Aim High was extremely blessed to be able to work with the roster on our album ‘Local Band Forever.” From the songs to the producers, engineers, graphic artists, everyone. 

I don’t know if I can pick a single favorite, though I have a few for different reasons.

Collaborating with Dan from Four Year Strong & collabing with Sleeping With Sirens hit different, not only because both of them are huge and amazing artists/bands who have no reason to agree to work with a barely up & coming band like us (much less vouch for us to their respective labels to clear us to release this record independently and retain the equity), but I personally came of age listening to them and have been heavily influenced by them. Getting to collaborate with people whom you musically idolize and who inspire you is always a “am I dreaming” type feeling. 

Getting to work with Andrew Wade was amazing as he has engineered/mixed/mastered & produced some of the biggest albums in the soundscape for a while (A Day To Remember, Wage War, Real Friends, Neck Deep, The Ghost Inside, etc). Same with Mike Cortada who illustrated our album artwork. He is the pen behind legendary album covers for huge bands in the scene as well (Fall Out Boy, A Day To Remember, Pierce The Veil, All Time Low, Sleeping With Sirens, The Wonder Years, etc.). 

In regards to my ‘Calebjustcaleb’ collaborations, I usually just collaborate with other artists who I know personally, or artists/bands from the area. I’ve collaborated heavily with Jace on multiple occasions. He somewhat recently got nominated for a Grammy for his work on the “Revenge of The Dreamers III” (2019) for Dreamville Records [Editor’s note: this is J. Cole’s label].

I’ve also collaborated with LightskinMac11, who was also a part of the “Two-9” ATL rap group including Jace, among others. Their whole camp has been stupid talented for a long time. 

Another frequent production collaborator is Grammy nominated producer Supah Mario (SC) who has blown up and established himself as one of the biggest producers in the hip-hop game (landing multiple placements with Drake on his last two projects, placements with Jeezy, Young Thug, 2 Chainz, Lil Uzi Vert & Post Malone), as well as collaborations with huge companies such as Lyrical Lemonade & Splice. (Stay tuned for some production from him on my next project!)

I like to soak up every piece of musical knowledge, life advice, industry game, etc. from the people I collaborate with, and I feel like this helps me in my journey of growth as an artist, and human.

Read our review of Calebjustcaleb - Corrupted Harddrive Vol. 2 →

The Beat is compiled weekly by Jasper Music Editor Kevin Oliver and will frequently include input from Jasper writers Kyle Petersen and Emily Moffitt in addition to Kevin's own regular contributions.

THE BEAT: A Review of Calebjustcaleb's CORRUPTED HARDDRIVE 2

By Kyle Petersen

Caleb Brown is a genuinely good frontman for the pop-punk/metalcore group Aim High. He’s got a convincingly nasal delivery, an acute sense of melody, and a compelling ability to create emotional cathartic lyrical moments. And the band is surprisingly suited to his more unorthodox influences, shifting from big pop-rock smarts to drum machine grooves or screamo excess as the muse calls for.

That being said, Brown as a solo artist (aka Calebjustcaleb) is perhaps an even more compelling figure. Since the rise of Lil Peep around 2017, there’s been a steadily more-accepted merging of emo-punk influences into contemporary hip-hop, running the gamut from the Soundcloud rap of Juice WRLD to the full pop-punk turn of Kenny Hoopla and Machine Gun Kelly. But there is not a more authentic occupier of this intersection of sounds than the emcee, singer and guitarist who fiercely calls the Rosewood neighborhood of Columbia home.

That creative spark is rife throughout the work of Aim High, but it becomes even sharper and exploratory in his solo releases. Last year’s EP Corrupt Harddrive EP is a prime example, a four-song release that used the building blocks of both pop-punk and alternative R&B almost interchangeably. His latest, Corrupt Harddrive 2, ups the ante by demonstrating all of the ways he’s capable of traversing the porous border between genres while showcasing his formidable rap skills. 

From the pounding bruiser of an opener, “ENDLESS.corrupt.001,” Calebjustcaleb just feels like he’s on. While there’s also a touch of genuine emo to his efforts, his power here comes in how effortlessly he evinces the swagger of an MC who knows he has the bars to go toe to toe with anyone. On the second track, the lavishly named “Spacecoup Moshpit,” his full vision comes into focus, bouncing with delirious ab-libs and a sauntering flow over a Migos-style track seared with monster guitar riffs.

And even though you might expect some of the purer pop impulses to be the natural crossover points, Brown is trickier than that. His work both here and in Aim High shows a range that extends to metalcore and screamo on the rock side, and then alternative R&B and drill. But what’s most striking is how his persona is so fully realized as a composite of all of these influences. On “ADA,” for example, there’s a section of masterful wordplay that doubles as a character sketch: “Is he a psycho or psychedelic?/Got a good hood, I’m hella threaded/at the skate park, yeah I’m hella shredded/on an elevator or elevated/lived in the South my whole life, but I swear to god I ain’t ever sweated.

It’s hard not to get caught up in this music, both because of how much it feels like a nudge forward in the zeitgeist and how much command Brown has over the musical world he has created. Although on social media he referred to these as “old, unfinished songs” when he released them a few weeks ago, that dismissal feels more indicative of how artistically poised he is in this moment.

Listen to the EP →

Read 5 Questions with Caleb Brown (aka Calebjustcaleb) →

The Beat is compiled weekly by Jasper Music Editor Kevin Oliver and will frequently include input from Jasper writers Kyle Petersen and Emily Moffitt in addition to Kevin's own regular contributions.