Moses Andrews III and His Journey to Finding Black Identity and Confidence

“This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.”

Photo by Kati Baldwin

If you want to learn about who Moses Andrews III is, we highly recommend listening to his newest album Exodus Pt. II. The personal stories he tells and the range of emotions in the album paint a strong likeness. If you want to hear him expand on the album and the stories, keep on reading.

JASPER: You are one busy dude! What bands (or projects) are you currently working in/on?

ANDREWS: Well, I have quite a list of bands, artists, and projects I’m a part of. To name a few: Autocorrect, GFATS, Miles To Go, Passing Worth, The Runout, The Restoration, The Witness Marks, and a few others. Occasionally, I step in and play with Space Coke, Fat Rat Da Czar, John Callaway (based out of MD), Commandment 11 (Simpsonville), and some others here and there. I’m also a session musician at Jam Room so that gives me so many opportunities to branch out even more.

JASPER: You recently worked on the soundtrack for a Sundance submission—can you tell us more about that?

ANDREWS: The film is an Afro-centric film called Hero and every part of it was shot in Columbia, so this could be something really big for the town. Todd Mathis, a local musician, had given my name along to the Director and the Music Director for the film. I’d found later that Todd would be the engineer and I’d be joining Corey Harris (a Blues and Reggae musician from VA), Kyle “Red” Love (Music Director and Blues harmonica player), and a couple of other musicians from around the country. A lot of the selections were pieces that Corey had written, but we decided to put a new spin on them for the film. We’d also incorporated lots of African sounds into the soundtrack. I’m excited to see how everything fits together.

JASPER: Your newest album Exodus Pt. II came out last month and in the description for it you mention that it is made up of stories that you have held for decades. What do you want people to know about the album? 

ANDREWS: The main thing I want people to know about Exodus Pt. II is that it is an effort to be completely honest. People make mistakes. I even talk about my own mistakes on this album. I wanted to add more songs to this album, but it would’ve been too long, so I want to be even more honest with my music in the future.

Black people and other People of Color have navigated this world in so many ways. We’ve had to overcome. As soon as we walk out of our door, we walk into a world where we have to prove that our existence is more than just useful, but valid. We have to prove our feelings are valid. We have to prove that we’re more than just a shooting target. We have to lower ourselves to show that we aren’t a threat. This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.

The content of this album is not influenced by what I believe, but what I embody. The Faith that I come from was not just a belief, but was a fully embodied faith: even in bondage, singing songs of freedom. Even in toil and trouble, singing songs about how we overcome. In a world where I may not have much power to do anything, I still lend my voice in the off-chance that some hearts are changed and are motivated to change others.

JASPER: Was there a song that was really hard for you to write?

ANDREWS: One of the songs from Exodus Pt. II that was the hardest to write was “I Know Everything About Black People.” I had to reopen so many wounds to be able to write this one. This song is just a snapshot of what Black people experience in predominantly white spaces, especially churches that are very Conservative-leaning. About 95% of the lyrics were taken from conversations with white pastors who have made their places of worship into safe havens for racists and bigots. I look at Spotify and see that it’s the top song on this album, but I think it’s because of the name. It catches your eye and draws you in.

Our minds are drawn to things we think are wrong or things we feel like we can correct or make better. Some say that this has come with the age of social media, but I believe it’s always been around, but people just didn’t want to see it. I feel like there are so many people who will not listen to this album because of this song. I also feel that some people know that this song is written about them, or maybe they know who’s the main character.

JASPER: What is your favorite thing you've written and why?

ANDREWS: If I think about everything I’ve written, I think I’ll be spinning my wheels a bit. There are a few songs that stick out to me.

One of my favorite songs I’ve ever written is on my most recent album, and it has to be IOU. The feelings that I’d felt while writing it are still there. You can feel the pain of someone being asked to completely change who they are to please others in the workplace. I feel like a lot of people, especially Millennials, can identify with some of these feelings of just being there, making little money, not getting ahead, etc. While a lot of songs were honest, this one was like talking to my therapist.

JASPER: If you were to associate a condiment with each of your albums what would they be and why?

ANDREWS: Well, If we’re talking about my personal music, this is an easy one. Exodus Pt. I would be more like ketchup because when you’re growing up, your taste buds haven’t developed enough to appreciate more than ketchup. This album is easy listening compared to the next one.

Exodus Pt. II is like a hot sauce that I make called Sri-HOT-cha: you can feel the heat at the beginning, but then you get some garlic and fruitiness coming through until you reach the slow burn, ramping up and taking you on a roller coaster. Exodus Pt. II was like that for me, especially in the way it was laid out. Hot sauce is my favorite condiment and Exodus is my favorite album that I’ve ever recorded.

JASPER:  How has becoming a father impacted you and your music?

ANDREWS: Being a father has changed a lot for me! I used to have instruments set up everywhere in the house, but they’ve since become his play areas. Almost every one of my instruments is packed up and in the closet because there’s nowhere to put anything. This has also affected my practice time because I want to give Miles more attention. Family time is important. After he goes to bed, it gives me a chance to actually visualize what I need or want to play since I can’t just plug in and play out loud. It is very interesting to see how he reacts to different styles of music. I can’t wait to see what Miles does in the future.

JASPER: What is the biggest assumption people tend to make about you and your music?

ANDREWS: What a question! People assume a lot about me simply by the way I look. Being a big Black man in the South, I get a lot of interesting questions and looks. I’m a big guy so people look at me like I’m a Grizzly bear instead of a Teddy bear. I was releasing an album with Autocorrect one evening and someone asked me if I was playing and if I make the beats. I used to make beats when I was a teen and there’s nothing wrong with making beats, but you can’t just assume that since I’m a Black person that I just make beats and not play an actual instrument. When I was at Carolina, I’d be carrying an instrument in a case and they’d still ask if I was a DJ. Those are small examples.

There are many other ways people have made assumptions about me and my music, but it has also happened in the white church. Being in predominantly white spaces, people learn one thing about you and they assign that one thing to you. You change yourself to help people feel more comfortable so that you don’t risk being “too Black” or look like a threat. Over time, you strip yourself away and become this completely different person playing Contemporary Christian Music only to have people approach you and talk about Gospel music and how much they love Andrae Crouch. I’d spent so much time away from Gospel music that I’d forgotten what it felt like to play it and be challenged by it. They assumed I was still in Black American Christian culture when I was so far removed from it.

JASPER: What are some things you like or dislike about the Columbia music scene?

ANDREWS: Some of the things I love about the music scene in Columbia is that there are always new artists coming out with music. Just watching people like Lola Grace is so cool. Another thing I like is that we have places like New Brookland Tavern and Foxfield that welcome musicians no matter how many people they draw. This is where they can grow and become somebody.

One of the things I dislike about this Columbia music scene is that there is still so much division. There are still cliques and people only know each other passively. I wish I could see more people working together. I think it’s so common these days to see the Person of Color being the one building the bridge or going the distance to create harmony. We always have to be the person to make the move and invade these spaces to add more color. I can name a handful of people of color in a lot of these spaces. I can guarantee you that when they are in these spaces, they feel like they’re the only one at that particular time.

JASPER: What wisdom do you wish to impart on musicians just starting out? 

ANDREWS: 

• Make friends with everyone. Break down the barriers.

• Stop booking the same kinds of shows all the time.

• If other artists or bands are coming out to your shows/gigs and buying your music or “merch,” make sure you are returning the favor. So many people can’t get anywhere because we aren’t supporting our own musicians in our own towns.

• Learn how to play more music. If you learn more styles of music and get good, you may get called into the studio to do session work.

• Change your attitude. Be humble. There are musicians that I know who think they’re amazing, but they can’t play more than four chords. All they bring is an image, a vibe. The time has come to learn and grow. Take time to work on things and come with something new.

• Make space in the community for people who don’t look like you, and not just the tokens or the ones who make you comfortable.

You can see Andrews perform  Thursday, August 18 at 8pm at Uncle Festers with St. Jupiter, Deft Key & MC Beetnik and listen to his newest album on his bandcamp.

A Bit of Introspection through Keith Tolen’s New Exhibition

“Who am I?” 

That’s the question Keith Tolen poses and hopes to answer in his newest exhibition at Stormwater Studios. In an introspective body of work like this, the process of creating each piece relies on the soul and spirit of the artist. Tolen is no stranger to exhibiting his work, as his Stormwater residency is the second of the summer and third of the whole year. A prime example of the sheer talent that resides in the Midlands, Tolen’s methods of creating artwork result in awe-inspiring pieces that stay with audiences for a long time.

With the constant stream of unprecedented events that inevitably affect our day-to-day lives, these particular pieces allow Tolen to maintain a sense of control that effectively functions as a means of catharsis. It also serves as a welcome challenge for Keith. 

“The fact of the matter is that this is very hard,” Tolen says when asked about the difficulty that comes with making art that analyzes himself or his emotions, “In most cases, I usually gravitate to images that attempt to tell stories. Creating art that is personal is still a struggle for me.” 

His role as an artist impacts the community as well; Tolen’s role in the art world of Columbia allows him to spend time around the positive energy of other creative minds which only brings him more joy: “My journey has been rich with color, full of imagination, and a constant search through the joys of life.” 

The spark of inspiration needed to get the creativity flowing started with a simple dot. “The dots are currently both my inspiration and fascination,” Tolen shares, “I enjoy the process of making them. I like working with colors and by using the dots, I am able to see how colors act and react with each other.” 

This natural flow of making art causes immense joy in the act of creating within Tolen and helps propel the narratives of his work even further. Everything about creating a new artwork excites him, even if it’s not himself doing the painting: “For thirty years I taught art in public school, and I was always fascinated by what individuals would create especially when given time, materials, and opportunities to freely express themselves.”

If there’s one thing that Tolen hopes the audience takes away from his exhibition, it’s to not have any one specific emotion. He’d rather capture your attention, and let your mind wander to its own conclusion, only to seek more answers by continuing to look at the following artworks in his collection. His art always aims to share a story, and in this particular set of artwork, it’s a deeply personal one. He reiterates how powerful a tool art is to positively communicate and address complex or sensitive topics. Viewing his works as an extension of his own being is what really emphasizes the subtext within each and every piece he makes.

“Who Am I?” will be displayed at Stormwater Studios from August 17th to the 28th. The opening reception is on August 18th from 5:30 to 7:30, and an artist talk on the 28th will conclude the showing. So, for those of you who look to find the answer to that opening question, Keith Tolen’s work might just be the solution you’re looking for. In his own words, “This body of work in many ways is an extension of many ideas that have shaped my life for many years. I enjoy working with colors, so painting these works in many ways fed my soul.”

Say Brother’s Tripp LaFrance: Wiser, Older, Sober — And Still Fun as Hell

“big bands are only big because other people support you, your show only sells out because people care enough to spend money to come see you. be grateful an humbled by that. cause if you fall off an youve jus been attached to this image of yourself, youre gonna fall fuckin hard.” — Tripp LaFrance

Self-labeled as country folks—and referred to in the press as young guys playing old music—Say Brother has danced, hollered and jangled in the Columbia music scene since 2010. In that time, they've toured the East Coast and as far West as Texas, but thankfully, they still call Columbia home. We talked with lead vocalist and guitarist, Tripp LaFrance, about how things are going and what has and hasn’t changed in the last 12 years. 

JASPER: What the heck have y'all been up to?

LAFRANCE: well like erbody, the pandemic kicked our asses musically. it was great for some much needed self reflection an improvement though. i feel like erbody in the band came out the other end a lil more put together. were finally gettin our new stuff down an pickin up where we left off. feels good to be back at it.

JASPER: Has the pandemic had any impact on your music, creativity or process?

LAFRANCE: oh absolutely. like i mentioned, it obviously brought musicians to a standstill. not bein able to play live an get them wiggles out was frustratin to say the least. it has shown me not to take it for granted though. im throwin all i got at it now, instead of bein a perfectionist who releases a new song once every two years haha.

JASPER: What does life look like now vs. 2019 when you were playing Hopscotch and the Fair?

LAFRANCE: life looks...more organized an completely confusin at the same time. i sobered up an thats been great, but my trajectory is all over the fuckin place now. its near impossible to say where or what ill be in a year.

JASPER: You guys have been a band now for over 10 years – woah! How has the band changed in that time? How has Columbia and the music scene changed?

LAFRANCE: the band has had a pretty revolvin door lineup. some people left and came back, left again, came back haha. but we have what i think is the perfect squad now. weve lost people along the way, but its never felt better. 

an yeah i feel the music scene has changed. its hard to put my finger on exactly how though. could also be a result of the lockdown an erbody comin back out as changed people. who knows. im in my lane.

JASPER: In these last 10 years what’s your favorite show you've played?

LAFRANCE: tanglefest 2021! that was the first real show we came back out an played. jus felt like community an love. lydia worked her ass off to put that festival together, an is doin it again this september on her farm. i seriously cannot fuckin wait. its jus a sloppy, happy, beautiful local fest full of awesome food, people, campin, an good times.

JASPER: What makes you want to play music?
LAFRANCE: its jus such a release. i swear, an i feel like most musicians would say this, the only time i feel at peace an my mind shuts the fuck up is when were on stage. everything else melts away an i am 100% in the moment soon as the first beat drops. honestly its more necessity than desire. 

JASPER: What does your writing process look like? 

LAFRANCE: there isnt much to it. i grab the guitar when the mood strikes, an usually run through a couple of chords an sing jibberish tryna find a melody i like. if one clicks ill record it an start to layer the rest of the instruments over it in garageband that are ever changin as the song progresses. its prolly not much different than most peoples, but damn man theres no better feelin than when you know you have somethin sick an youre jus listenin to it on repeat tweakin lil things here an there. thats a high like no other.

JASPER: Do you have a favorite lyric or song you've written, and if so, what is it? 

LAFRANCE: damn thats tough. i think “comfort me” might be my favorite? i wrote it in a total hurry under pressure cause we had a video shoot booked for it before it was even written, an i kinda thrive under that pressure. theres not much time to overthink anything, an i think that jus leads to more honest writin. i tend to pick apart everything i write to the point that i hate it. which is also why weve released only a handful of songs, an ive written hundreds. its a quality of mine im always tryin to get rid of. its incredibly fuckin frustratin.

JASPER: How do you know when something is done? 

LAFRANCE: i dont haha. when the rest of the band tells me so i guess. i tend to wanna go back an rework shit, but its only cause ive heard it a thousand times. once we all get together an play it at practice, we can tell if we got a banger or not pretty immediately. im blessed to have a group of brothers at my side who all have a similar ear an direction. theyre also all creative an write their own music separately so that really helps when you present somethin.

JASPER: What are you listening to these days? Are there any newer musicians local or otherwise you are into?

LAFRANCE: currently as i write these answers im listenin to sarah shook and the disarmers, theyre a sick sorta country rock an roll band thats gainin crazy traction right now. ive found myself listenin to a lot of instrumental beats these days. like the low fi almost hiphop shit that is jus raw an relaxin.

JASPER: Have you or anyone else in the band ever ridden a horse?

LAFRANCE: i did when i was younger, i think thats prolly the truth for the rest of the band as well. haha i can imagine now that experience would be painful bruh. we in our 30s if i bend down to pet my cat wrong it takes me 17 seconds to stand back up all the way straight.

JASPER: Having been playing for a while, what freaks you out most about the younger generation or encourages you and why?

LAFRANCE: the musicians arrogance. thats not jus attached to the younger generation of course, but maybe attached to the younger age we all go through. our generation remembers life before instagram an shit. but everybody is a celebrity now. there seems to be this feelin of self importance that in my opinion has no place in music. big bands are only big because other people support you, your show only sells out because people care enough to spend money to come see you. be grateful an humbled by that. cause if you fall off an youve jus been attached to this image of yourself, youre gonna fall fuckin hard. an it happens. im a human, ive struggled wit the ego bullshit of course, i was a lil shit for a while, so im definitely not hatin on anybody. jus gotta work to keep yourself in check.

but i am encouraged by how open these kids are. destroyin stigmas around mental health, bein themselves without holdin back, fightin for what they believe in. theres a lot to like when i get a glimpse into their narrative. 

You can see Say Brother with The Josephines at New Brookland Tavern on August 13th and hear their music on Bandcamp.

Trustus’ True Crime Rep: Jason Stokes Retells Century Old Columbia Murder in Composure

Jason Stokes, Writer and Director of Composure

In 2020, two new plays were created by local playwrights with the intent to premiere at Trustus, until COVID put a halt in production. Now, the two shows, Composure and House Calls are finally being shared with Columbia as part of Trustus’ True Crime Rep.

The shows will perform in repertory, running at the same time with performances alternating nightly. Composure, by Jason Stokes, premieres first, starting on Thursday, August 11th and running until the 27th.

Stokes is far from new to the Trustus scene, having been part of the acting company at the theater since 2004 — and having been working on screenplays since a young boy.

The story for Composure came from a work presentation on a 1903 case that Stokes attended around 20 years ago. The case? The then sitting lieutenant governor (Jim Tillman) finished session for the day, walked out of the State Capitol building, saw the founder of The State newspaper (N.G. Gonzales) pulled out a gun, and – without warning – shot him dead.

Stokes keeps a journal on him at all times with notes all the way back to when he first heard this story in 2003. When he knew he wanted to craft a play, he went to the Thomas Cooper Library to read books and newspapers and to find little known information that coverage of the trial left out.

“It was frustrating because I wanted to write it, but I didn't know what I wanted to write,” Stokes shares, “When I hit on the idea that the why was more important to me than the what, that’s when the catalyst sparked.”

With inspiration and research intertwining, the script started being fleshed out. Stokes started and finished his first draft four years ago—as a screenplay. It was this screenplay that was read at Trustus and that he’s been molding into a stage play since 2016. With this, though, came a unique challenge – how do you transform something made for the screen to something made for stage consumption?

This transformative process from screen to stage was new for Stokes and did in fact challenge him creatively. “The biggest thing was character consolidation. Because when you're out in the real world and you're doing a shoot, you can hire somebody for a day,” he details, “In terms of scenes, you have to think what you can compress or change to put the characters somewhere that's static yet authentic. You realize you have to find focus through dialogue as opposed to through visuals.”

Stokes has embarked on this path by functioning as director of his own play. “I just don't think that I could hand this piece specifically over to somebody else,” he continues, “I feel that this was a living, breathing thing for me. But at the same time, if someone reads something that doesn't make sense, I want them to talk about it. We can change it.” 

Part of this confidence in the ability to change parts of a script based on the opinions of others comes from having an outstanding team, specifically a wonderful cast. Original and new cast members join together to bring this play to life, including Hunter Boyle, Kevin Bush, Libby Campbell, Stan Gardner, Brandon Martin, Terrance Henderson, Nate Herring, Katie Leitner, Jon Whit McClinton, Clint Poston, and G. Scott Wild.

Stokes asserts that “By the end of the process, if I've done my job and I know my cast have done their job, they're going to know the characters better than I ever will.”

With his wife Marcia Leigh Stokes by his side as Stage Manager, Stokes and his cast and crew have worked together to tell a story steeped in history with roots spiraling far before the gunshot at the
State House even took place a century before.

“It’s a unique challenge anytime you deal with historical fact,” Stokes notes, “You've got to be historically accurate, but you have to make it entertaining, so this process was about balancing what bits of history to keep in versus what to take out.”

Stokes certainly hopes his play, which is very much rooted in what happens when your disagreement with another individual falls far off balance, inspires stories and decisions long after the curtain closes.

“I think today we find ourselves in a world where people believe, ‘If you disagree with me, you're wrong,’ or ‘If they're reporting against me, they're lying,’” Stokes asserts, “So I think what’s important is we learn from our mistakes and move forward and understand that there are going to be things and people that we don't agree with.”

Get your tickets to Composure (and House Calls) on the Trustus site and come back next week for our piece with Charlie Finesilver on House Calls!

Jason Stokes and Charlie Finesilver

Ceramicist Chilly Waters Reflects on Breakout Year and New Tiny Gallery Show

“I never have a concrete image in mind as the clay often times tells me what it wants to be and how it should look. And I always welcome the happy accident moments of creation”

Though Waters has called South Carolina home for over a decade, he spent most of his life in Baltimore, Maryland. In all his time dwelling in his spaces of living and travelling – one of his main loves – he has always been an explorer and creator at heart.

Visual art, however, is not a major marker of Waters’ past. His initial vessel for expression—and his first degree—was in music. Retirement has allowed him to “indulge” and teach himself about visual art.

“As an artist I would define myself as raw and ignorant,” he reflects on being self-taught, “It allows me to experiment and explore without prejudice or restrictions. Sure, it also leads to failure, but many cool things can come from the ashes of failure.”

“Apple of His Eye”

While an intro to pottery course and a 2-day workshop on figures and forms definitely helped shape Waters’ current passion with ceramics, what really brought him to this medium is his inner child.

“A kid at heart, I guess I never lost the urge to ‘play in the mud’ — I really love the idea of taking mud and making something out of it that makes people think, wonder, or laugh,” Waters emphasizes, “I love working in a 3D medium because it allows me to create an experience where the participant can not only hold it, but experience different things from different angles/views.”

Molding clay allows Waters to put images he conjures into his own hands, an experience less about inventing fantasy and more about making real a fantasy already present and being able to say—look, here it is.

“I would say, I seem to see things in my head differently than others. And clay allows me to express and show what I see to others,” Waters intimates, “Being a shy person, it’s a window into who I am for others to explore—or run from, whichever takes hold.”

When it comes to what exactly what you might see when peeking in these windows, Waters jokes that if “trial and error” is a style, you can count him in, but really, he’s taking in the world—his style is his own.

“For some time now I’ve be creating sculptures based on cliches, idioms, and colloquialisms. I also like to use trash or discarded items and recycle them, incorporating them into my pieces,” Waters details, “Most recently, I’ve changed direction and am making pieces whose stories include social, cultural, or political messaging in an attempt to bring awareness to issues people face or struggle with. My ‘Ladies in Waiting,’ included in this show, is the first step down this path.”

“Ladies in Waiting—Zari”

Waters’ running list on his phone is his trusty right-hand man that holds all these ideas and concepts in place. Often, when the urge to create strikes, he returns to this list, seeing which idea speaks to him.

“[This is] based on what is inspiring me at that moment, what I think I can figure out how to make, while others I pass over thinking, ‘this one could leave people wondering should I seek professional help or counseling,’” he jokes, “I never have a concrete image in mind as the clay often times tells me what it wants to be and how it should look. And I always welcome the happy accident moments of creation.”

In his current Tiny Gallery show, Waters has homed in on the various directions his mind pulls him in by finding the thread that connects them, showcased in the title of the show: Reminders, Focus on What Matters. Here, you’ll see apples tucked into eye sockets, severed feet covered in honey and jam, and clarinets emerging from wood. They’re rife with both whimsy and poignancy.

“Toe Jam”

“I’m an optimist and feel we can live a happier existence when focusing on what matters. This is a combination of new and old pieces that all have reminded me of things to focus on,” Waters shares, “I hope people look at this exhibit and smile or even laugh. Life’s too short not to enjoy it.”

And Waters himself has much to enjoy as he reflects on 2022—his breakout year, or as he deems it, the “Year of Chilly”

“I have never entered a competition or had an exhibition, and this year, in addition to this honor, I won an award at this year’s Annual South Carolina Palmetto Hands Fine Craft Competition for my piece titled ‘FaceTime,’” Waters effuses, “I am also humbled that the town of North Charleston invited me to do a month-long solo exhibition at the Park Circle Gallery. I will be showing there the month of September and the show is called Words Matter.”

The highlight among this growing experience though? The sense of community.

“Getting to meet other artist, seeing their work and learning about them, their process and their vision,” Waters shares, “So many have impressed and inspired me to continue my journey of personal growth and exploration.”

You can see Chilly’s work at Jasper’s virtual gallery until the end of August, and his show Words Matter is at Park Circle Gallery in North Charleston next month with an opening reception on September 2nd from 5 – 7pm.

Until then, you can stay up to date by checking out his website and be sure to follow his Facebook and/or Instagram @ Chilly Waters Art Studio – you may

The Beat: Concert Review: Maddie Turner, Lola Grace, Kat Gandy, and Death Ray Robin New Brookland Tavern, July 14th

“Sad girl indie” has been bubbling under on the indie charts the past few years, with major artists such as Lucy Dacus and Soccer Mommy surfacing as stars in the subgenre. On Thursday, July 14th at the New Brookland Tavern in West Columbia, Columbia’s version of the “sad girl” scene took the stage in a show that featured Maddie Turner, Lola Grace, Kat Gandy, and Death Ray Robin.

Maddie Turner’s set put the spotlight on her calming voice, evoking Phoebe Bridgers in ways besides covering songs of hers such as “Scott Street”. While newer to the music scene of Columbia, Maddie possesses the stage presence of a much more seasoned performer. Her personality surfaced best between songs, as she kept the audience laughing and reacting to what she had to say. 

Lola Grace, of Stardust Motel, has a powerful voice reminiscent of Florence Welch (Florence + The Machine). Her set included songs that drew from her own life experiences such as finding true love; the one that you know will be there for you, and expressing those feelings in ways only young lovers can. The show came ahead of the release of her new single, “Reconsider”, and as a special treat for the audience, she not only included songs written as a solo artist but solo renditions of music from Stardust Motel’s discography such as “Starcrossed Lovers”. 

Kat Gandy is usually seen in Outerego or as part of Paisley and the Birdwalkers; the airiness of her voice gives her songs a layered, organic feel even in the world of impersonal stage amplification. Starting out with a cover of the iconic “Running Up That Hill”, recently made relevant and popular again via its inclusion in the show “Stranger Things,” Kat followed that opening statement with a set of her original music created as a solo artist and also from her other musical endeavors. Her skill with the various pieces of musical technology on stage created the illusion that there were three copies of Kat harmonizing along in the background, lending her set an intricately arranged, ethereal quality.

Death Ray Robin has a personality and stage presence that commands attention all on its own. While often backed by a full band, this show was all about Desirée herself as she took the stage with only her voice and her keyboard. Her vocals leave room for plenty of vulnerability and passion to shine through on songs such as, “Boss Babe (You Can Have It)”. 

The ambiance of New Brookland Tavern helped bolster the effects of these performers on the audience as well, with monochromatic lighting moving over the singers and listeners, connecting them in a single ray of light as if they were the one person being sung to directly. 

Regardless of what you call it, and whether it’s truly sad or just emotionally raw and open, the kind of indie appeal that even local artists like these have is apparent in the rapt audience attention and their own passionate delivery of their original material. 

Co-Owner of Studio 3P Kim Case Imbues Whimsy and the Fantastical into Her Photography

Recently, Jasper got the opportunity to talk with Kim Case, effervescent photographer and co-owner of Studio 3P – a photography studio in Irmo, where she has lived since 1976.

Case has been studying art since high school, growing a “foundation of basic studio lighting, camera settings, and classic posing,” before homing in on her identity by apprenticing under Randy Jones and William of Carolina.

As she came into her own as a visual artist—inspired by artists such as William Mortensen, Norman Rockwell, and Caravaggio—she centered on fine art portrait photography.

“Hallmarks of my work are richness and whimsy,” Case emphasizes, “Primarily a portrait (and self-portrait) artist, in my works I seek to capture a moment in time, revealing an intimate aspect of the subject—I want people to feel something familiar when they see my portraits.”

Case’s photographs are so intimate and rich that they are often mistaken for paintings—especially in light of the “humble” but “sometimes fantastical” themes, wardrobe, and props she uses.

“In my world, I portray themes of quiet strength. The images have a peaceful calmness to them. I love the rich textures of velvet and linen,” Case effuses, “I seek out clothing, housewares and tools that are old, worn, and real. Warmth and richness permeate my works, so do shadows created by a strong and directional source of light.”

Case has rooted this love into South Carolina soil at her Irmo business, Studio 3P, where she serves as co-owner and lead photographer. She shows work all over the city, most recently State of the Art and Chapin Town Hall, and is often inspired by fellow local artists, namely Michael Story and Rob Shaw.

Her passion and skill has been widely recognized, and, notably, in 2018, her portrait creation “Girl with Sword” won Best of Show in the professional category of the SC State Fair—the first and only photograph to ever take that prize in the 150+ years of the fair.

Recently, Case has created two series that stand out in her memory. Homespun shows children and young adults in “rustic and wholesome tableaux—captured in mundane tasks” while “graced with strength and dignity.” In the Time of COVID is “composed of self-portraits and still-life art…[focusing] on aspects of life during the pandemic, such as isolation, altering of routines, search for information, tangible boredom, signals of hope, and desire for normalcy.”

Currently, Case is in the final stages of a portrait project called Tools of the Trade—seeking to find a display location late ’22/early ’23—and is initiating a multi-discipline group collaboration that should be ready for the public in late 2023.

See more of Case and her studio’s work at their website.

Upcoming Opportunities for Artists & Film Makers

Carolina Film Network - Networking Event

CFN Is meeting Saturday August 6th from 3pm-5pm to talk about their film festival Freedom Festival International and how to get involved. Check out their Facebook event for details and location.

Richland Library Fall Pop-up Art Show for BIPOC Artists

Richland Library continues collaborating with local visual artist Jeff Rivers to expand the social and economic participation of underserved artists and communities. They are currently seeking submissions for an outdoor exhibition series in September, October and November 2022.

The Pop-Up Art Shows aim to connect the community with local working artists and to provide creative and educational opportunities to the community in a way that supports cultural and artistic exchange.

The deadline is Thursday, September 1, 2022 (to exhibit at Richland Library North Main or Northeast) and Saturday, October 15, 2022 (to exhibit at Richland Library Southeast).For questions, please contact

Read the full guidelines and apply online.

Rosewood Art & Music Festival

Rosewood Art & Music Festival is a non-profit, one-day, free admittance, outdoor festival where thousands of visitors descend into the Rosewood Neighborhood to enjoy multiple stages of live entertainment, visual arts, poets, music, and more to celebrate southern arts and culture.

The festival is taking submission for artists and musicians until August 31st
Read their submission guidelines and apply online.

The 701 CCA Prize 2022 for South Carolina Artists 40 Years & Younger

701 Center for Contemporary Art in Columbia, S.C., announces the sixth installment of the 701 CCA Prize, a biennial, juried art competition and exhibition for professional South Carolina artists 40 years and younger. The project takes place this year with a juried process resulting in a October – December exhibition for the competition’s three finalists and an award celebration announcing the winner. Eligible artists are invited to apply for the 701 CCA Prize 2022 by completing and submitting the application package by September 1, 2022. The application guidelines and link to the application are on their website.

Crucial dates are as follows:

July 29 – September 1, 2022 - Submission Period

September  15, 2022 - Announcement of Three Finalists

October 20, 2022 - Exhibition opens with a public reception.

November 29, 2022 - 701 CCA Prize Celebration Event and Announcement of Winner

December 31, 2022 - Exhibition Closes with year end celebration 

“The 701 CCA Prize continues to add a crucial component to the ecosystem and infra-structure for artists and the visual arts in South Carolina,” -Wim Roefs founding board member 701 CCA

The project’s purpose is to identify and recognize artists 40 years and younger whose work is exemplary in its originality, shows awareness of artistic developments and is of high artistic merit. The winner is selected by a panel of three art professionals. The 701 CCA Prize 2022 will be awarded to one young professional South Carolina artist for outstanding art production since January 1, 2020. Aside from the age requirement, eligible artists must currently live in South Carolina. They also must fulfill several practical requirements outlined in the application guidelines. 

An independent jury of three art professionals will select three finalists for the 701 CCA Prize. The three finalists will be included in the 701 CCA Prize Exhibition at 701 CCA. The three members of the jury panel will be announced later.

The 701 CCA Prize Winner will receive a six-week, paid residency at 701 CCA; a solo exhibition at 701 CCA. The previous winners were James Busby of Chapin in 2012, Shannon Rae Lindsey of Columbia in 2014 and Yvette L. Cummings of Conway in 2016, Jena Thomas of Spartanburg in 2018, Adrian Rhodes of Hartsville in 2020.

Jasper Presents First Thursday at Sound Bites with Adam Corbett

Adam Corbett has been a part of the Columbia music scene for almost 20 years. On top of his own projects he’s been in several bands — Guitar Show, The Restoration, and Husband to name a few — and played with local artists Marshall Brown and Rachel Kate. It may have come as a surprise to some, then, when he decided to branch out into visual art. 

Being at home more than usual over the last two years and seeking a creative outlet outside of music led Corbett toward painting and drawing. During this time he’s experimented with different mediums, techniques, and styles, figuring out what he likes best. He admits that, ultimately, the variety of options and experimentation itself might be what he enjoys most. Out of all the things he’s tried, he seems to gravitate most toward watercolors. 

“I suspect my attraction to watercolor is how unpredictable it can be while also still being malleable,” Corbett shares, “I also really like it when someone who clearly is digging one of my paintings asks and is a bit shocked that the weird cartoon bat clown they are looking at was done with watercolors.” 

Since 2020, he has participated in several local markets and art events: Kennan Terrace Art in the Yard, Art Along the Trail, Cottontown Art Crawl, Melrose Art in the Yard, and, most recently, AG+Art in Lexington and Charleston. Aside from being a part of Jasper’s 10th Birthday Party art salon, First Thursday will be Corbett’s longest show and the first one indoors, for which he is extremely thankful (it’s hot out there, y'all!). 

Join us Thursday, August 4th at Sound Bites Eatery at 1425 Sumter Street from 6pm-9pm.

First Thursday Facebook Event

Adam’s Facebook, Instagram & Music

The Beat: Remembering Ruba Say

PC: Ruba Say’s Facebook

“We thought he’d outlive us all,” went one of the many comments online after news of the July 16th passing of Columbia musician and iconic personality Ruba Say at the age of 56 (From a chronic medical condition) broke. It was his larger-than-life persona that most locals remember, along with an easygoing attitude that meant he got along with everyone. In my nearly 30 years of writing about local music in Columbia, I can’t recall a time when Ruba wasn’t around, doing something, playing somewhere, sending me demos or sharing news of a new album or show. 

Ruba was his own best promoter, and before social media came along he was creative in his efforts to be heard. Former WUSC-FM student DJ Tug Baker recalls his first encounter with Ruba:

“The first interview I ever did at WUSC was with Ruba Say. During one of my first shows freshman year, he burst into the studio during my show and said he was scheduled for an interview about Ruba Say and the Cosmic Rays. No one had told me anything about it, and I was pretty sure he hadn’t asked or cleared it with anyone at the station. But I went ahead and rolled with it, interviewed him, played some of their songs, and we had a good time.”

Ruba also had a habit of turning up in places you’d least expect. Emily Strickland recalls one such night at the Hunter-Gatherer.

“We went to see Hick’ry Hawkins play, and Ruba was there. At some point late in the set Ruba started playing guitar with him, and next thing you know they’ve closed the front door to the pub, Ruba is wailing on guitar, and Hick’ry is standing on a table belting out AC/DC songs. It wasn’t a big crowd, but that’s part of what made it so special–it was just this intimate moment of high energy rock and roll that we all shared–Ruba brought that, and shared it with all of us.”

Naturally, however, it is his fellow musicians who have the best stories about Ruba. 

“I remember walking into Group Therapy about 30 years ago to a wall of rock,” says Soul Mites bassist Thom Harman. “There was Ruba, spinning on the floor and tearing up a guitar solo at the same time–that is rock and roll, and he embodied it like few people ever do.”

Artie Joyner of Stardog remembers one particular night out of many spent in Ruba’s company:

“Ruba was legally blind, so I drove him around a lot, and we’d take turns playing our favorite tunes on the car stereo. On the way back from Summerville once, he pulled a joint out of his shoe, we lit it up and jammed to Motley Crue’s “10 Seconds To Love” all the way home.” 

Jay Matheson, of the Jam Room recording studio and too many bands to list here, recalls an early 1990s night with Ruba:

“I decided to roll down to Charleston to play bass on a gig with Ruba and his drummer, Brian Kennedy–we were opening for some band at Cumberlands. When we walked on stage to play, 80 or so hippie kids were sitting cross-legged on the floor waiting on some chill, groovy music, so we were wondering what was going to happen. Ruba jumped to the microphone and started screaming out a rocking song with his trusty Crate amplifier cranked wide open. Brian and I looked at each other, shrugged, and started blasting along with him. The crowd was horrified, I don’t think they had any idea what was happening–I was well entertained and drove back to Columbia feeling like the trip was well worth it.”

Keith Woodward, owner of the legendary Columbia store Superior Feet Playhouse, met Ruba at the store one night, around Halloween of 1989.

“We were having a late night happy hour and this new face in town came through, he was a musician, knew all the music, and as everyone was putting on costumes, Ruba put on a Viking helmet, which went with his red hair so well I gifted it to him. He was part of an exodus of Florence musicians who came to Columbia in the 1990s, and he was always one of those who could turn a small thing into something bigger, just through all the people he knew–he was the original social network all on his own.”

Steve Gibson, original co-owner of the legendary Rockafellas, remembers Ruba fondly.

“Ruba was ubiquitous, always around, and always positive,” He says. “There are very few in Columbia who contributed so much, for so long, on the local scene.”

Back in 2017 I reviewed a self-titled Ruba Say and the Cosmic Rays album that had just been released, and this excerpt sums up my own feelings about Ruba and his music, and the loss that we’ve all felt this past week: 

“There is a legendary space in the Columbia music scene where Ruba Say exists as a sort of alternate reality rock god everyone knows and loves…Take the first KISS album, throw in some UFO, a little Stooges, and a lot of Alice Cooper, and you've pretty much got the meat of what Ruba does… The result positions the Cosmic Rays as a garage band of the finest order, content with blasting the roof off whatever dive bar they can find.”

Ashley Bennett Talks Inclusivity, Immersion, and Interaction Before Upcoming Tiny Coven Performance

On August 5, visitors and regulars of Art Bar will be treated to a performance by Columbia’s Tiny Coven Dance, a dance studio run by Ashley Bennett that prides itself on teaching fusion dance while also prioritizing diversity and inclusivity. We interviewed Ashley to find out more about what to expect from their upcoming show as well as some more information on what developed her passion for dance!

PC: Cesar Palacio

JASPER: What is your personal background within the world of dance? What was that "a-ha" moment that pushed you to pursue dance as a career?

BENNETT: I have wanted to be a dancer since I can remember. There is actually a photo of me on my 5th birthday, wearing a pink leotard with a tiny tutu, holding a ballerina teddy bear. In the photo, I’m wearing a gold “5” pin on my leotard and posing in “bras bas” (think arms down in a rounded position, teddy bear nestled into the crook of one arm). I hadn’t taken a dance lesson yet because we couldn’t afford it. My first ballet class was at age 12, while attending Davidson Fine Arts, a magnet school in Augusta, GA. While there, I studied modern dance with a Paraguayan instructor who also taught us traditional South American dances; since then, I was interested in multicultural folkloric dances. I remember seeing bellydancers at a festival and distinctly remember that there were moms performing in troupes with their teenage daughters and I thought that was really cool. I took a couple of lessons at a recreation center but wasn’t able to go regularly, so I didn’t end up studying bellydance seriously until after I graduated from high school.

JASPER: What can the audience expect from the performance at Art Bar? 

BENNETT: The show is a musical treat. We used pretty much all international electronic music. Think Arabic and Turkish rhythms with full, bassy, moody layers. I was very careful to keep the music esoteric enough to transport the audience, while still being easy to listen to. Everything is right around heartbeat level, which is probably how I stay sane choreographing and rehearsing as much as I have been. I have not divided performances by skill level, and have instead interspersed less experienced dancers with company seniors; this way, I am staying just within my team’s abilities, while still pushing them to their limits.

JASPER: Have you performed at Art Bar before?

BENNETT: Art Bar was the home stage for the company I moved here to join, “Delirium,” which later became “Columbia Alternacirque,” and that was in 2007. I think it was about 2017 that we did about 9 monthly shows at Tiny Coven, in an event we called “Shrine Underground,” and it was a fast-paced choreography/rehearsal schedule that helped my senior troupe members sharpen their stage tools. In this period of time, my new performers became very efficient with training, as well as costume/makeup and stage craft.

JASPER: How would you describe the dance community in Columbia? Do you think it’s changed or grown over the past few years?

BENNETT: I feel like the dance community is still very much in an incubation stage, thanks to the pandemic. Our ability to rehearse and train together is dependent on everyone being available. We have still been struggling with missing dancers while they quarantine — but it’s coming back. I think bellydance is one of the least-respected dance forms, so it’s difficult to promote online. I refuse to market my classes in the frame of an “exotic new hobby,” and I also refuse to promote weight loss at my business, so the dancers that find me are coming to train because they like my dance style and want to be a part of it. That makes me a bit insular, and that’s okay. There are a couple of other bellydance instructors in town, and they know that my door is always open for collaboration, rehearsal space, cross-promoting events, etc. and we have been that way since before the pandemic

JASPER: What does the troupe do to ensure the audience has a unique experience watching you?

BENNETT: Art Bar is such a great space for blurring the lines between audience and performer. As much as we love ennui, the enthusiasm of a performer standing RIGHT next to you — breathless and awaiting their next cue — is probably my favorite thing about the venue. I remember, years ago, dancing there for a packed house. I finished my solo and made my way to the back of the audience, but couldn’t see. I climbed onto a chair and grabbed a man’s shoulder to stabilize me. A couple of days later, I read Jeffrey Day’s review of our show in The State, and he was the man whose shoulder I had grabbed. For someone who is so accustomed to being completely separate from the performers in professional dance shows, the experience was groundbreaking. He STILL reminds me of that story whenever we see each other and I still get warm and fuzzy.

Tiny Coven’s performance starts at 8:00pm on the 5th, and admission into the show is free! Support local bars and local artists by stopping by to check out a one-of-a-kind performance you won’t want to miss.

Facebook Event

Get to Know the Artist: How JJ Burton Found Herself Through Paint and Koi

While not on the job at SCDOT, JJ Burton creates beautiful acrylic paintings of all subject matters, from landscapes to portraits. Burton always loved her creative side, constantly drawing since elementary school. But what started out as a hobby became something much more significant for her in 2015, when she started to paint. Her career has skyrocketed as she now owns the Backyard Koi & Art Gallery in Cayce, sells her work at Soda City, and much more. 

Burton grew up in the Philippines before moving to South Carolina. She has since made a huge name for herself as an artist in the Columbia area as her work has caught attention all across town. The inspiration for learning to paint stems from a whimsical decision to adopt a few koi fish from a local pet store. She started to raise and sell her koi for a few years. After becoming enamored with their movements and the artistic aspects of how they interact with water and their surroundings, Burton decided to capture these movements on canvas. With motivation from Bob Ross, some art supplies, and the koi themselves, she became an expert at painting them, and they became synonymous with her brand. 

Animals reappear often in her paintings, and a signature subject matter of hers is the animal tree; several of her pieces are beautiful sunsets and sunrises with prominently shaped trees that delineate the shape of an animal on the move. She cites these “animal tree” pieces as her most unique form of mark-making. “When most people see it they either smile, seem surprised or even amazed,” Burton says, “My work connects to children a lot in that way too.”

Burton finds inspiration in plenty of artists like Bob Ross and Vincent Van Gogh. In terms of South Carolina artists, she cites Renea Eshleman, Charles Hite, and Roy Pascal as the three who guide her on her art journey. 

Her work has been exhibited in several festivals and exhibits, including the 2019 Korean Festival, 2019 Tartan Day in Cayce, the 2018 Midlands Holiday Family Expo, and the South Carolina State Fair on multiple occasions. She has experience with commissions of paintings and even large scale wall pieces.

If you’re looking for a personalized experience and view of her creative process, or if you want to learn how to paint as well as she does, Burton holds art lessons on the first Friday of every month at her gallery on Frink Street, as well as private one-on-one lessons by appointment. You can find her on Youtube on the J2ester22 channel, where she posts short videos and time-lapses of her work. In the future, she hopes to tackle the realm of oil painting and watercolors. She is currently working on several pieces at her studio, and her portfolio can be found on her website. 

Jasper Talks with Marshall Brown on Experiences New and Old Post 5th Album Release

“I’m a strong believer that if there’s just one person in a room that takes something in from a performance then you’ve done your job”

— - Marshall Brown

We talked with local musician and DIY recording master Marshall Brown about his music, process and upcoming projects. His 5th album, Ay Es Em Ar, released in May of last year, was Voted best SC Album of 2021 by Free-Times.

Photo by Shane Sanders

What beverage or meal pairs best with your music?
Hmmmm. I'd say “Changing Of The Garb” pairs with a smoothie of some sort, and with “Elephants Walking Lightly” maybe a smooth wheat beer and pop a melatonin. “Awakened On The Weekend” is definitely a Bourbon Soda, but it's a daytime Bourbon Soda to be enjoyed in the sunshine. 

What makes a song good? 
I like a song that gets stuck in my head. I also like production that has a lot to listen to and keeps you interested — where maybe there's something in the 2nd verse that wasn't in the 1st verse. Sometimes I do get tired of the everyday "Verse –chorus," but I'd be a hypocrite if I didn't say that sometimes it's just all you need, too.  

What’s your favorite thing you’ve ever recorded? 
I find that the more time I spend on a record, the more love I have for it — I guess for obvious reasons. The more I labor over and pour myself into a project, the more connected I feel to it. Every time I put a record out, I generally have put more into it than the one before, so I'd say my favorite is usually my latest. 

What is your process like when writing and or recording? Is there anything you wish you could do differently or that you don't like about it? 
Organization is key. I keep notes on my phone of random couplets or just titles that I may think are witty or interesting. Also, I have another folder that has song ideas that are maybe a little more developed. I have a folder with finished lyrics that I'm logging until music is recorded and online, and I have a folder for lists of songs such as ones that I'm planning to release on this project or that one. So I try to stay organized and make it a point to write stuff down when I have something cool or interesting cross my mind. Otherwise, I'd forget it easily, and that's a waste. 

How has the pandemic impacted your music and creative process? 
I was really on a lonely down spiral right before the pandemic so it wasn't an incredible change in lifestyle for me. I did, however, come out on the other side a more healthy person with the help of some close friends. Since the heart of the pandemic, I've been collaborating with other artists a lot more than I used to. I hardly ever really collaborated before. SHOWS is a project that has always been a real pleasure for me. We try and keep it loose and intentionally light and fun. We dress up in painter's uniforms when we play live. Zion is a project that I've been involved with more recently, and it's a darker more existential landscape that we're building. It's been a beautiful experience embracing that part of my personality as well. I have the sense that we're really creating something important. 

How do you know when something is done? 
Sometimes you just know. Sometimes things spill out and you just don't want to change them. You keep them in that visceral form they were born in, and you wouldn't dare corrupt the simple beauty of that. Other times, you have a little nugget that you're really crafting and crafting to shape like a gem. Those are the ones that can be tough to let go of and just let them live in the world. I had some on Ay Es Em Ar that I really got lost on, and I ended up sitting on that album for a long time because I just got lost at a certain point in time. When I came back to it later, I had more of a determination to make some deadlines for myself and get it done. It was definitely a situation where some deadlines and a sense of urgency really helped me get it done, and it ultimately made me a little more confident in my craft. 

If you had any advice for other musicians looking to get into DIY recording, what would it be? 
I like to spread the news that there aren't any rules. I realize that can sound naive as there certainly are some guidelines to try and 'color inside of' for a good quality recording, but I do feel like a lot of the rules that people will tell you CAN, in fact, be broken in some instances. If you're recording music, it's probably because you have an ear. If you have an ear, use it and trust it. The great thing about music is, if it SOUNDS good, it IS good. I've been in situations where I've been really strained to figure out why something is working because my knowledge of theory tells me it should be all wrong. Don't do that. If it sounds like it's working, then let it work. 

As far as equipment goes, just know that you can use a really cheap mic, but use good technique with a really fresh musical idea, and you've got gold. Some great records have been made with sub standard equipment. If you keep at it long enough, you'll get to a point where you'll drool over better equipment, but go as slow as you need to and just do the best with what you have. The average person won't even notice if you're good at your craft.  

What's your favorite or least favorite show you've ever played and why? 
I'm a strong believer that if there's just one person in a room that takes something in from a performance then you've done your job, but I did get sick and lost my voice right before a big music crawl event one year and was missing a whole section of my vocal register. I had to sing my songs completely differently than normal and really put a lot of thought into my endurance. That was a fairly dreadful experience. I also have had nightmares about being at a venue and not having one small piece of equipment that I need to make everything work.

What is the ideal way to listen to your music? 
Headphones for the win. I like music that has detail in it and often try to put things in there that you may not even notice without headphones. I like the way headphones give you the proper stereo field where you can hear things happening all around you. it's not just left and right because something that has a lot of reverb sounds like it's far away from you and something that's more dry sounds like it's closer. 

Did you have a favorite stuffed animal growing up, and if so, why haven't you written a song about it? Or have you? 
I had many. I remember them getting very ragged as they were loved. The 3 that come to mind are an orange Popple with green hair, a Papa Smurf, and a well known chipmunk named Alvin. Perhaps, I could do a Chipmunks Vocal style remix of a song in the future. I remember listening to Chipmunk's Christmas and Chipmunk's Sing The Beatles a bit when I was really young. 

What's next for you? Are you working on anything? 
Yes, definitely have some songs built up from the last few years that I'm looking forward to birthing into the world. I've been making lists and doing some organizing. I suspect I have a few EPs and a full length in me as of now. Might even have other secret collaborations in the mix too. Who knows? 

Tell us about your coming show.
I'm looking forward to this show with Elf Power on the 28th. I haven't had a chance to play the Ay Es Em Ar songs with a full band yet so that, in itself, is exciting. I've got some different guys called The New Garbs with me this time. It's certainly no slight to The Rare Birds, my most recent partners in crime. The Rare Birds are still The Rare Birds and can't be replaced. The New Garbs are just my attempt to branch out and have experiences with playing with different people. Looking forward to hearing Elf Power as well. Their new record sounds great, and, being a big Olivia Tremor Control fan, I've always been amused by the Elephant Six Collective that they're associated with. I admire the sense of community there in Athens during the 90s. 

See Marshall Brown & The New Garbs July 28th at New Brookland Tavern with Elf Power and ER Jurken.

Follow Marshall on Facebook and check out his albums on Bandcamp

Get to Know the Artist: “Mark-Maker” Michel McNinch

“Prayer for Nancy”

Local artist Michel McNinch may be a Columbia staple, but her art stretches back far before any might guess.

“People ask me ‘How long have you been an artist?’ and I tell them that I drew the best snowman in kindergarten,” McNinch warmly shares, “My very first memory is crawling next door to get their crayons. The big ones. Eight colors. I wanted to touch them so bad. It is a vivid memory.”

It wasn’t only McNinch who felt her desire to create, though.

“My mother felt it,” McNinch recalls, “Everything she put in my hand gave me decisions to make—what color, how to mold it, what story to read. Oh! Remember the watercolor coloring books? Magic. I have always been a mark-maker.”

Back in these days, McNinch was growing and becoming on the “bright, khaki sands” of Sullivan’s Island. Of all the life there, what she recalls is the church and her beach.

“Stella Maris Catholic Church was at the center of our community. My entire family went to church and school there,” McNinch reminisces, “Although we lived on the front beach, I loved the ‘back beach.’ Small tidal creeks were the nurseries of all living things that I loved. The birds, crabs, oysters, shrimp, and fiddlers were my companions. A perfect place for a mark-maker like me to grow up.”

“Lake Murray Light Show”

This self-proclaimed mark-maker has explored creation through primarily pastel, watercolor, and oil—though the latter is her favorite, asserting that “[oil] is durable enough to last hundreds of years and the materials are readily available.”

It is these materials with which McNinch has made her mark.

“My paintings are reflections of my surroundings and experiences. I don’t worry too much about being unique—I am more interested in what holds us together,” McNinch effuses, “The arts and the culture it creates is what binds us as a community. My paintings may reflect the same experiences as many other art and nature lovers. We connect that way. We become a community.”

These days, you can find McNinch in Studio #7 at Stormwater Studios (413 Pendleton), which she calls “heaven on earth for an artist.” There she ruminates on her own past and on those she has interacted with over the years as she paints. In these moments, her mother stands out as an inspiration for her: “She always said I would be an artist and gave me so many opportunities to prove her right!”

When it comes to fellow South Carolina artists, McNinch fondly speaks of the late Larry Lebby. “He beat the odds with his sheer talent. One of my teachers was brave enough to take a class of middle-schoolers to the museum. Larry Lebby’s work was on exhibit. I was astounded at the level of craftsmanship—and all done with a ballpoint pen,” McNinch intimates, “As an adult, I found myself working for his lawyer. Larry Lebby lithographs were in every room of the office. I was surrounded by the talent that inspired me.”

“Somewhere Familiar”

Presently, McNinch is working on a collection of landscape paintings from SC State Parks and Wildlife Management Areas.

“We have a wealth of beauty in South Carolina, and much of it can be found in our State Parks. So, I am selecting several favorite state parks and painting about 10 landscapes from each,” McNinch details, “They will be displayed first to my email community—then, on my website.”

If you’d like to join McNinch’s “vibrant and engaged” email community, rife with an audience she is “so lucky” to have, you may do so here: Subscribe

You can also peruse her current work on her website or email her with inquiries at michel@michelmcninch.com

If you want to learn more about McNinch, you can watch her interview.

Mark Your Calendars - Future Poetry Events with The Jasper Project and Al Black

For the poetry lovers and art appreciators in the Columbia area, Jasper’s own Al Black will host a plethora of live events for poets and readers to be a part of. Each of the events have their own schedules, allowing for plenty of opportunities to fit everyone’s schedules. 

Mind Gravy Poetry is a weekly event that meets on Wednesdays from 7-9 PM at Cool Beans Coffee Company. The event includes music and poetry features, followed by open mic time, allowing for new voices to let their creativity and written word be heard.

For monthly meetups and activities, the first Tuesday of every month holds Simple Gifts, from 7-9 PM at the Friends Meeting House. The meetup includes music and poetry features and concludes with an open mic session. On the last Tuesdays of every month is the Jasper Poetry Salon, from 7-9 PM. It occurs at 1013 Duke Avenue and encourages poets of all experience levels to come and share their writings and appreciation for the art form. On the last Sunday of each month is Front Porch Swing, an outdoor event with live music; don’t forget your lawn chairs and coolers! Front Porch Swing also takes place at 1013 Duke Avenue, from 2-4 PM.  These monthly events are sure to provide anything you’re looking for in the realm of Columbia’s poetry scene.

Words, Words, Words is a quarterly event hosted on a random Saturday in January, April, July and October from 2-4 PM at the Richland Library Southeast Branch on Garners Ferry Road. This event features a published poet with an original music introduction; the featured poet is often from out of town, providing a great surprise factor for those interested in attending each of the meetings for Words, Words, Words. The next event will be in October, and we’ll update when we know more.

Black often organizes and hosts ekphrastic poetry events that feature galleries and artists from the Southeast—showcasing the appreciation of the combination of the written word and visual accompaniment. 

THE BEAT: Isabelle's Gift Revisits American Idle by Kevin Oliver

One of the Columbia music scene’s most iconic hard rock acts, Isabelle’s Gift, will be celebrating two things this week with its show Friday night at New Brookland Tavern. 2022 marks 30 years since the band’s first live shows, and singer Chris Sutton will turn 50 this week. For those reasons, and more, the band felt it was appropriate to mark the occasion and it has chosen an interesting way to do it– with a set that promises a full performance of the 2006 album American Idle.  

“We hadn’t played much for the past few years, even going into covid,” Admits Sutton, in a recent conversation with him and bassist Jason Carrion in the space where it all began–the former Rockafella’s, now Jake’s Bar & Grill, at 2112 Devine Street. “Everyone was separating, splintered apart, with kids and jobs and other things going on. Also, who wants to see a bunch of dudes our age get up there and play rock and roll?”  

Carrion agreed and noted that the logistics alone were daunting–but when they did convene with the idea to do another show, things clicked naturally. 

“I was very uncertain about where things were going to go–we couldn’t jam, it was a long time to not work on music together,” He says. The turning point came when he and Sutton recruited former Gift member (and current Soda City Riot, Gruzer, and Firenest member Travis Nicholson) and former Throttlerod leader Matt Whitehead.  

“We’ve all been friends for decades,” Carrion notes. “We toured with Throttlerod, Travis was in the band before, Scott (Frey, the drummer for Isabelle’s Gift’s last several years) came from the punk scene with Bedlam Hour. There’s a lot of history there. Chris and I have been playing together longer than most people’s marriages.” 

The addition of Nicholson and Whitehead changed the dynamic in the room and expanded what was possible.
“It’s a room full of gunslingers,” Sutton says. “It was pretty nerve wracking the first time we all practiced together, actually, because it felt like everybody was on their game except me.”

Nicholson is a natural fit, having been in the band before. He and Sutton have remained close over the years, too. 

“He helped write some of the stuff that was on American Idle,” Chris recalls. “Our families are close; our kids have played together for years. With Matt, it has been a bucket list kind of thing for me to play with him ever since our bands toured together.”  

Whitehead has been a revelation of sorts during the process of rehearsing the songs for this show, Sutton admits. 

“Going back and revisiting these songs, I was still writing on guitar for some of them and I feel like I was poorly trying to do what Matt was doing really well right off the bat with Throttlerod. So now, it’s almost like he’s going back in time and fixing everything that I did.” 

It’s important to both Sutton and Carrion to note that although they are playing an entire album of older material, the songs and the band may not sound like fans remember from the recording–and that’s fine with them. 

“It’s a texture that he adds to a lot of the songs,” Carrion says. “He’ll put melodies in places they didn’t exist before.” 

“I told both Matt and Travis that I wanted to make sure the verses were the same, and we kept the hooks, but I wanted them to bring their own feel to everything else,” Sutton says. “There’s no question there will be a difference in the sound, it almost feels like I’m fronting Clutch at times. Plus, I have a bunch of backup vocalists in the band now, which is exciting.” 

Rehearsals have revealed one major problem, Sutton says, and it has to do with how equally excited the entire band seems to be with the proceedings. 

“I’m concerned about keeping our tempos slower,” He admits. “We’re playing these songs in practice like we’re trying to kill somebody with them.” 

Isabelle’s Gift has always been the angry red-faced stepchild of the local scene, railing against mediocrity, hypocrites, traditional society, and more in their music and motifs. American Idle, released through the Jimmy Franks label of the Bloodhound Gang, was a high-water mark for the group, combining the sludgy Soundgarden vibe of their bottom end grooves with a punk fury reminiscent of Charlotte legends Antiseen. Topically, many of the subjects broached are still relevant a decade and a half later, and Sutton says getting reacquainted with how his younger self felt back then was not just surreal, it was affirming of his own life journey. 

“I remember the things I said, and the way I sang, as something I was embarrassed about,” Sutton says. “I realized that not only was I proud of some of the songwriting that was on it, the music is great, and it told a much more intricate story than I remembered–it made me a little more proud of who I was, and I’d forgotten a lot of that.”  

It was the album’s unexpected current relevance that inspired the idea to just perform the whole thing, he says.  

“It was scary how topical it was, and with the exception of maybe one song title and a couple of lyrics it even fits into current events,” Sutton says. “Usually guys our age are going to run into problems about things we said in our past being politically incorrect now, or not in step with some of the things we are defending these days, but it all checked so many weird boxes.  

“Within minutes of me telling the other guys the idea at rehearsal, we were blasting through the album, and I got left in the dust because I didn’t remember as much of the songs as the rest of the band.” 

Ultimately, it all started coming back to him, and in the process of working through the songs again, Sutton says it was a cathartic experience for him. 

“I don’t like to come right out and say some of the things I’m saying in these songs, but it’s unbelievably fitting in today’s political climate,” He admits. “I’ve always dealt with a lot of trauma, I’m lucky to be alive, and I didn’t plan on living this long. Back then I was pretty suicidal and I’m not now. Those are feelings I’ll be working through my entire life. I’m a completely different person than I was back then, but the trauma might even be felt stronger.” 

At this point the biggest question might be how the band’s new chapter might be read by fans old and, possibly, new. Sutton and Carrion both admit they are unsure, but optimistic.

“I don’t how it fits into today’s environment, how people who used to like us may take where we are coming from,” He says. 

“The last time we played a live show was in February, three years ago,” Carrion says. “We played that Ramones tribute show earlier this year, and getting to know those people, and the excitement behind that and other local shows lately, I love seeing the support now.” 

As for American Idle, growing up, and looking back, Sutton has the last, encouraging words for himself–words that might apply to anyone taking stock of their list of accomplishments later in life. 

“It’s so fucking honest, all the way through. I felt like walking up to myself like I was one of my kids and saying, ‘Good for you, you did better than I thought you did…you were honest, and it feels real as shit.’” 

Isabelle’s Gift plays this Friday, July 22nd, at New Brookland Tavern. Shun and the Transonics open the show. Visit www.newbrooklandtavern.com for tickets and more information. 

JAM ROOM MUSIC FESTIVAL ANNOUNCES LINEUP FOR OCTOBER 1ST

Jam Room Music Festival returns to Main Street to bring free live music to the streets of Columbia

——— OCTOBER 1 ———

The Jam Room Music Festival returns to Columbia, SC’s Main Street for the first time since 2019. This year’s festival is headlined by Clap Your Hands Say Yeah and Titus Andronicus, both of whom are celebrating new music releases. The festival will take place on October 1 and feature two stages, one on Main Street and one on Hampton Street in front of the Columbia Museum of Art. 

“It’s great to have the Jam Room Fest back and bringing live indie music to the heart of South Carolina,” says festival Executive Director and owner of the Jam Room Recording Studio Jay Matheson. “After two years off due to the pandemic, we’ve been looking forward to bringing the festival back, and we couldn’t be more excited about this year’s lineup. It’s hard to believe we’ve been doing the festival for nearly a decade, and we’re still looking forward to growing it for years to come.” 

Jay Matheson photo credit Ken Lucas

Now in its 9th year, the Jam Room Music Festival has brought acts such as Superchunk, Blonde Redhead, Justin Townes Earle, Son Volt, Waxahatchee, and Guided by Voices to its stages. 

In addition to venerable headliners CYHSY and Titus Andronicus, the festival will also host Titan to Tachyons, Shiner, Mourning [A] BLKstar, Bailey Road Band, The Explorer’s Club, and Columbia’s own local music champions Dear Blanca. In all, the festival will book up to 12 acts, with several more to be announced. 

Tonight! Meet the Artist - Michael Dwyer at Motor Supply - & read this essay by Catherine Walworth

Join Jasper and Michael Dwyer this evening in the bar at Motor Supply Co. Bistro to chat about and celebrate Dwyer’s new exhibit in the restaurant gallery. This is a casual affair with patrons gathering around the large communal table and at the bar, having dinner, drinks, and stimulating conversation with and about the work of one of Columbia’s most exciting contemporary artists.

Jasper and Dwyer will be arriving at 7.

To kick things off we present this lovely essay composed by a dear friend to Columbia, Catherine Walworth, Ph.D.

Painting is a visual language that speaks with its own rhythm, organizational syntax, and lyrical cadence. To look at Michael Dwyer’s paintings is to give yourself over to looking at colors and shapes and textures that exist playfully on the surface of a plane, yet in a seriously complicated way.

At first, one’s eye wants to track the upper layer of painted structures that bend and jerk like a conga line of conjoined dancers, and then you see how many layers and purposefully altered decisions went into the build-up of his paint below. Dwyer thinks of these strata as akin to the layering of instruments and the interweaving medley of sounds that happens over time in a piece of music.

Also like jazz, there is a tension between the sense of control and improvisation in Dwyer’s paintings. One can follow the jig across the painted surface, where bars of color bend and intersect, approach the limits of the painting’s edge only to stop short, or carry on into imagined elsewheres. Each bar is a different color, and in that bar are layers of past color choices, sometimes fighting to rise to the surface like a ghost, and other times anonymously adding layers of thickness to the final opaque color choice. This density and subtle quality of relief give the paintings an objectness, and asks the viewer to walk back and forth to take in little shadows, amplifying the sense of rhythm and movement.

Dwyer uses a palette knife to scrape and smooth paint, but also whatever is at hand. While he used to paint in a more organic, rounded, and gestural way with a brush, now he is a happy workman, troweling his bricks of color into built worlds. The paint layers in the background offer up clouds of color on which the hard-edged bars float in a colorful ether. As with Kazimir Malevich’s or Ellsworth Kelly’s geometric forms that hover on the painted surface, seeming to take a living breath, there is a sense of “being in the world” in Dwyer’s forms in space. They, too, feel as if they are hovering and jostling, announcing their impossible sentience.

Dwyer and I have at various times marveled over painting and how so many seemingly disparate parts could come together in a composition that teeters on the edge of falling apart during the making, only to have the artist stop when it seems inexplicably “right.” There is a resolution that cannot always be explained, particularly when there is no figurative subject matter to gauge, but the result is astounding, and each time the conditions of a painting’s “rightness” are excitingly different.

But then, Dwyer has been trained from childhood to recognize the fitness of compositions. His parents, both painters, raised him in a home in which modernism was the thing, and took him to museums as a natural practice. His paintings speak directly to so many of the artists’ styles that he has absorbed by faithful looking— Paul Klee, Brice Marden, Piet Mondrian, Elizabeth Murray, and Frank Stella, to name a few. Stuart Davis is close to home at this stage in Dwyer’s career. Like Davis who pronounced his direct connection with jazz, Dwyer comes back again and again to his love of music when describing his process, as well as his evangelical adherence to abstraction.

ART AT HOME: McKissick Museum Offers Digital Exhibit - Piece by Piece, Quilts from the Permanent Collection

“Some women don’t care how their quilts look. They piece the squares together any sort of way, but she couldn’t stand careless sewing. She wanted her quilts, and Joy’s, made right. Quilts stay a long time after people are gone from this world, and witness about them for good or bad.” ―

Julia Peterkin, Pulitzer Prize winning novelist from Fort Motte, South Carolina, author of Scarlet Sister Mary

Double Irish Chain

Designed by Tabitha Meek Campbell (1822-1889) 
Spartanburg County, SC
ca. 1860
Gift of Sarah M. Norton

The desire to create is a powerful force that will fight its way out of you even when you try to suppress it or pretend it isn’t there. Lord knows that traditionally impoverished Southern women rarely found their way to store bought canvasses on which to paint. But their talent and creativity poured forth in other ways, not the least of which was the way they kept their families warm with homemade quilts fashioned from cast-off clothes and pieces of fabric put aside for a rainy day.

Homemade quilts are more than family heirlooms to store in a linen closet.

Homemade quilts are story tellers and canvasses and books with chapter after chapter to be explored in square after square of their making.

And if the heat or germs or whatever personal reason of your own is keeping you home right now, you can still enjoy an incredibly comprehensive and enlightening virtual trip to the museum right from your own computer screen by visiting McKissick Museum’s Digital Exhibition, Piece by Piece - Quilts from the Permanent Collection.

In Piece by Piece, the exhibition introduces the visitor to a variety of quilts dating as far back as the early 1800s and as recently as 2015 with a quilt crafted by Summerville’s Peggie Hartwell, recipient of the Jean Laney Harris Folk Heritage Award presented by the SC Arts Commission. Ms. Hartwell is a founding member of the National Women of Color Quilters Network.

Wisdom 11 “To Thee I Give You Our Past”

Peggie Hartwell (1939-present)
Summerville, SC
2015

McKissick Museum Collection 2017.20.01

The McKissick Museum website writes, “The McKissick Museum collection includes over two hundred quilts, featuring examples of appliquéd, whole cloth, and pieced works from the Southeast. Since the 1980s, McKissick has documented and celebrated quilting traditions, produced several publications, and developed programs exploring the topic. The quilts in this exhibition illustrate the evolution of this textile tradition over the past two hundred years. From the early use of chintz fabrics to the widespread popularity of solid colors, these quilts reflect traditions with roots in Europe, Africa, and the American South.

“Quilting traditions in the Southeast were not uniform. Quilters were influenced by geographic, economic, and cultural circumstances. Many of the quilts displayed here illustrate characteristics distinctive to individual makers, while others reflect the influence of popular styles and trends. Quilts are as varied and diverse as the women and men who make them. They can evoke powerful memories and provide tangible connections to loved ones or specific events. More important, makers often use quilts to express social commentary, communicate personal narratives, or document family or community history.”

The Virtual Exhibit features distinct sections on Southern Quilts, primarily from the Carolinas and Georgia; the Makers’ Voice, which profiles known quiltmakers; the eponymous Crazy Quilt, and the University’s Quilt History Project from 1883-86. Included is a quilt created in 1986 by Hazel Ross depicting scenes from Columbia’s history to celebrate the city’s bicentennial.

Columbia Bicentennial Quilt

Designed by Hazel Rossl
Columbia, SC
1986
Gift of Logan Lap Quilters

McKissick Museum Collection 2012.08.01

For more exhibits at McKissick Museum, both virtual and physical, please visit this link and continue to enjoy the meaningful connection between art and history.

-Cindi Boiter

CALL FOR ART: SC State Fair Fine Art Competition Entry Period is Open NOW Through September 1st

Showcase your talents in our Fine Art Department for individuals 18+.

Divisions include Professional & Amateur 2-D, 3-D and Photography. 

Exhibitor must be a resident of South Carolina or attending a college or university in South Carolina or a member of the Armed Forces stationed in South Carolina.

Fine Art Exhibit Guide

Fine Art Professional Entry Form

2022 General Rules & Regulations

More Information