Ampersand Magazine, Summer 2012 by The Red & Black

[ a m p e r s a n d ]

SUMMER 2012 | A PUBLICATION OF THE RED & BLACK

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EDITOR’S NOTE............................................................ 4 staff and contributors.............................. 4 Staff note. ............................................................... 4 On the cover Notables giving a strong voice for women in the music industry . .................................................. 28

Melodiously Mused

Getting to know an artist who matches imagery to melody...................................................................5 App-ing your way through AthFest.........................6 Students wielding potent musical passions, but not for performance................................................... 10 Local cooks produce both rocking recipes and tasty tunes................................................................... 11

25 22

Feeling festive-- fashions for embracing summer’s mellow flow..........................................................14 IVinyls and vigor reside behind the doors of Athens’ two remaining record stores..................................22

Alive with the sound of Athens Individual sounds call for individual studio styles.. . 6 Counting Athens beats by the numbers................... 7 Musicians taking their voices to the streets . .......... 8 Bands to listen for at AthFeast and some to search out elsewhere ...................................................... 15 Breaking from your usual shows.......................... 20 Understanding a rising musical monster.............. 25

Who: Lera Lynn, awardwinning southern folk singersongwriter

ON THE COVER

Page 28: Her take, along with other female powerhouses, on breaking into the boys club that is the Athens music scene. Tuned In: Ins We’re excited to listen to Lynn’s new EP, but for now, we’re still loving her cover of “Wolf Like Me.” Credits: Dress by Cheeky Peach and hair and makeup by Rebecca Cash SUMMER 2012

EDITOR’S

LETTER

A B

s I type, my playlist just flipped between a track by Pavement to one from Taylor Swift-and I’m unashamed.

This month we’ve delved into the sounds of the Athens music scene, a theme we think goes hand-in-hand with summer:

The sun is shining and the car windows are down, what’s coming from your speakers?

Maura Friedman Executive editor

Darcy Lenz MANAGING EDITOR

Answer: “‘Swing Tree’ by Discovery. It’s relaxing but still upbeat.” Maura is a senior magazines and political science major

Answer: “‘ Seven Bridges Road’... The Eagles live version. Summer makes me want to really embrace my southernality. I think it’s the heat.”

Ansley Vasconcellos Online editor

Darcy is a senior magazines and consumer journalism major

Answer: “Windows rolled down always calls for the trifecta: Zac Brown Band, Jack Johnson and Amos Lee.”

Sarah Lawrence Summer DESIGN EDITOR

Ansley is a senior magazines major

ecause music isn’t one-size-fits all. There’s a place within everyone’s catalogue for sentimental songs and catchy sing-alongs as well as everything in between. The notorious music scene in Athens stands as a testament to that and I wouldn’t have it any other way. As I already revealed, I’m not one for the expected. n this issue you can read about everything along that spectrum. We’ve profiled bands coming up through the popular Athens scene with their first time on the AthFest bill (page 18) as well as those on the outskirts in genres often less included (page 20). We wanted to include something for everyone, but you may be surprised about what peaks your interest. hether you think Drive-By Truckers or R.E.M. was the best band to come out of this town, keep your ears open this summer, especially when it comes to supporting local acts. You never know who’ll have your newest favorite album, this issue taught us all that at ampersand (I already found mine in Cicada Rhythm, see page18).

oak in plenty of sunshine, laughter and fresh air during your time off and let us know what you’re up to at @ampersand_uga or on our Facebook page. Before you know it, you’ll be back to school and back to another issue of ampersand on stands August, 27.

Cheers,

LETTERS TO THE EDITOR Send us feedback! We want your input on our publication. Send an email to magazine@randb.com with thoughts, questions, comments or criticism.

SUMMER 2012

Lyric Lewin Contributing Writer and photographer

Answer: “Vacationer opened for a band at the 40 Watt this semester and I’ve had their song “Trip” on repeat.” Lyric is a senior photojournalism major

OUR STAFF

Answer: “‘Start of Something,’ by Voxtrot or “The Worse it Gets,” by Penguin Prison. I can’t decide.” Sarah is a senior graphic design and advertising major

Lindsay Boyle photo editor

Answer: “I listen to country music more in the summer. Its nice and chill.” Lindsay is a senior photojournalism major ampersand is the

in all things red

black

EDITORIAL

ADVERTISING

ADVERTISING DIRECTOR | NATALIE MCCLURE Student Ad Manager | dana cox Account ExecutiveS | Claire Barron, josephine brucker, Patrick Klibanoff, molly pafford, Anna thorgerson, melissa volpe, Stephanie Wright AD ASSISTANT | Laurel Holland PRODUCTION Production Manager Serra Stalling

BUSINESS Office Manager | Erin Beasley Cleaning Person | Mary Jones Copyright 2011: No portion of this magazine may be reproduced without the written consent of the publisher. The Red & Black reserves the right to refuse advertising for any reason. The opinions expressed by writers do not necessarily reflect the opinion of The Red & Black or the University of Georgia.

SIGHTS & SOUNDS:

Local band poster designer Graham Shirley on his craft

Story by Krystal Drew

raham Shirley has been an artist as long as he can remember, but being born and raised in Athens, Ga. allowed him to develop his talent in ways he never predicted. Combining his own artistic abilities with Athens’ rich musical culture, Shirley has evolved into the go-to designer for bands when they need artwork. How did you get into designing, and in Athens specifically?

What do you do as a poster designer?

Basically, if bands need posters for an upcoming show or for an advertisement, I’ll make them an image. Where does your inspiration come from for the designs? Do the artists have a lot of input?

It’s generally left pretty wide open for me when it comes to the design, so not a lot of input from the artists, no. I generally know the bands I’m working with personally, so their personalities come into play when I’m designing for sure. If I don’t know them, they might send me a track or CD and I can develop something from there. I usually have seen them live so I have a feel for what they portray. Most bands have attitudes or vibes they want to exude so I try to pick up on those and develop my art accordingly.

Well I grew up in Athens, which is perfect because its music culture is so rich. I left to attend SCAD for animation design. Once I graduated, I moved back to Athens and was living with a band. I did some work for them and some other close friends because at the time I was working at a t-shirt company. From there it just grew by word-of-mouth and I’ve been able to keep steady business.

Do you have a favorite poster or one you’re most proud of ?

I wouldn’t say I had a favorite. At this point I’m doing about three posters a week, every week. Right now, I probably like my newer work the best, but that could change in a month. My skills are always developing. Even when I see my work after it’s done, I’m never completely satisfied. It’s interesting because I have the opportunity to see my work around town and there’s always that feeling like, “Uhhh, I could’ve done that differently.” There’s always something to change when you see it later.

What do you like most about what you do?

I think I enjoy the artistic freedom most. I get to work from home and on my own time. I like that the artists usually let me run with any ideas I have. And it’s really nice to show someone a final product they enjoy as much as I do. It’s very satisfying to get to design for a band I like.

What’s next for your business? Any immediate plans?

I would just like to continue to expand my client base. I recently got a new press that will allow me to increase my capabilities so I would just like to continue to grow and design for amazing artists.

SUMMER 2012

How App-licable

From

Performance

The Low-Down on Downloading this Year’s Improved AthFest App

to Playback

Story by Satyam Kaswala

o more frantic Google searches on which band is about to play where. For the second consecutive year, AthFest will have its own mobile app that allows festival goers to scroll through profile pages of performing bands, create personal schedules, connect with others and navigate the city. It’s both an atlas and an encyclopedia designed to enhance the festival experience. Matt Evans, a graduate of the New Media Institute, is one of the developers of the original AthFest App released last year. The project evolved from sketches on notebook paper to a professional, fully functioning app that was picked up by iTunes and downloaded over 1,400 times. Evans looked to the Bonnarroo, Coachella and SXSW apps for inspiration. After partnering with AthFest, the developing team spent five months coding and aggregating information so that each band page was packed with pictures, biographies and links to social media sites. They submitted it three weeks before the festival opened. “Ninety percent of the feedback was people either amazed or confused,” Evans said. “They’d say ‘Athfest has an app? That’s crazy. Festivals this size just don’t have apps!’” The 2012 festival app has four major features including lineup, map, news and share sections. In addition to showing what bands are playing and where, the app allows users to share photos with other attendees and uploads them to Facebook. It also keeps users up to date on any festival related news or developments through an Athfest Twitter stream. The best part of the AthFest App? It doesn’t cost a dime.

Story by Brittini Ray. Photos by Lindsay Boyle

t only makes sense that a town like Athens, Ga., known for its vibrant music scene, hosts numerous recording studios to capture its local-bred musical talents. As diverse as its artists, Athens’ various studios produce a wide spectrum of different genres.

The Odyssey Studio Mimicking its city’s embodiment of diversity, The Odyssey Studio (TOS) records a range of genres including gospel, death, metal and experimental. The studio promotes the slogan, “Basically, we do it all.” Inside its historic Victorian residence, TOS offers a relaxed environment that encourages artists to produce their best works.

John Keane Studio Veering away from the typical rock and pop genres, John Keane Studios (JKS) targets eclectic Americana and folk artists. According to owner John Keane, “JKS’s homey environment and location keeps its artists coming back for more.” JKS manages artists such as Art in the Dark, Bar-B-Q Killers and Harvey Milk.

Pig Pen Studios

90 NO 9 W

Where Athens talent take their music to suit individual recording needs

M O P ARK E N ET !

Located in the heart of Athens, Pig Pen Studios (PPS) claims its state-of-the-art facility as the source of the studio’s extreme popularity. Like The Odyssey Studio, PPS strives to offer the best of two worlds with both analog gear for the nostalgic musician and the latest in digital recording for the modern artist. PPS officials refer to the studio as a “hybrid production facility.”

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Newly renovated, Full Moon Recording Studios (FMRS) is no stranger to the music industry. With clients such as RCA Records, the parent company of Arista J and Capital Records (who managed production for the Beastie Boys), FMRS caters to each client. FMRS does not discriminate against age as it oversees the Oconee School of Rock, which offers private music lessons for all ages. Ranging from a 10-year-old violinist to a 50-yearold indie artist, FMRS serves musicians across the board.

T h e Streets Are Alive with the N ot

Friendship— “It was a solid two months of jamming before we ever tried to talk or hang out with each other.” Drummer Michael Lauden and bassist Arthur Lowrence met through Craigslist and went from their first 5-hour jam session to later form the band known as The Piss Palace and Lounge Trio. “We’re a very loud, noisy avant-garde twopiece,” Lauden said. They draw musical influences from Frank Zappa, King Crimson and Devo. Lauden and Lawrence have been playing together for eight months and are currently working on an album. Downtown Athens is “like I am at a high school battle of the bands every night that I live here,” Lauden said. Before they go into battle, they play music near their venue to attract more people to their show.

Sound of Music!

en e all the Athens music sc

Yu B y Hanna

ally e r t ’ n ld “I cou ng i o d f l se see my usic m t u b ng anythi rest e h t r fo .” e f i l y of m

PHOTO | KAITLYN FRIZZELL

uring the day, downtown Athens is filled with roaring buses, shuffling feet, and endless chatter, but as the night falls, the city’s soundtrack is entirely different. Bands frequent the Georgia Theatre, 40 Watt and New Earth, but an unsung part of the Athens music scene are its street musicians—each with a particular driving force that fuels his or her music. People—“Playing downtown is like participating in a people parade.” Rick San Miguel plays guitar on College Avenue. He came from Nashville, Tenn. and has since taught guitar at the Musician’s Warehouse for eight years. “The broadest guitar lesson is that behind every string, there’s a note,” San Miguel said. However, San Miguel would rather play than teach. He describes his playing as “improveisation” since every chord he plays improves his

SUMMER 2012

guitar skills. A passing girl screams, “I love him!” as San Miguel expresses his love for people. “I’m thankful for the people who support music,” San Miguel said. Fate—“Music was written on my heart before I was born.” Michael Lesousky plays the Bob Dylan-style guitar and harmonica on College Avenue. He started his life as a musician because he wanted to be like his brother, who played the bass. Lesousky plays a Fender guitar, which he says was free from a friend. “My songs are about yearnings, intimacy, my identity and who God is,” Lesousky said. His open guitar case has $24 scattered around. “One day a woman was watching me play and said, ‘This is exactly what I needed’ and gave me $50,’” Lesousky said.

Opportunity—“Playing downtown is a great way to meet new students.” Ash Raymond teaches guitar at the Athens School of Music. For Raymond, playing downtown attracts prospective students when they approach him saying how they wish they could play guitar. Raymond’s response is always, “I can teach you.” Raymond clips his fingernails in the music school lounge area. “This has become a daily habit for me,” Raymond said. Raymond teaches finger-picking on guitar. Passion—“I couldn’t really see myself doing anything but music for the rest of my life.” Matt Whitaker is a guitar teacher at the UGA Community School of Music. A night out playing the streets of Athens begins with a “load-in,” which occurs between 6 p.m and 9 p.m. The “load out” is around 2 a.m. “Playing out for me affects my teaching by really keeping my tanks full of energy…and reminds me how much I love music,” Whitaker said. Whitaker started playing downtown with a band called The Premonitions. Now he plans to tour with his band, Young Benjamin, in the fall. Whitaker also plans on opening a large teaching studio in Athens. His advice for aspiring musicians is to practice. “There is no magic ingredient to becoming competent,” he said. “The only ingredient is well spent time.”

24186

OFF THE BEATEN TRACK: Music students find personal sound through by Gina Yu unconventional career pursuits Story Photos by Devin Webb

he Hugh Hodgson School of Music at the University of Georgia is distinguished for classical performances on its grand stages, but not every music student strives for the spotlight. Numerous students are taking unconventional routes to accompany specific tastes in feeding their ardor for music. A Song with a Mission Almost every high school student glances and laughs at what teachers designate the career aptitude test. Yet for Jordan Godwin, one of her test’s top results established a career path suited to her particular passions. Currently an upcoming senior at UGA, Godwin’s need to help people was not satisfied with teaching music or performance; however, she found her draw to both music and service harmonize into one major: music therapy. Godwin recalls countless times when people have asked her, “What is that? Is that even real?” She does field work with the special education department at Cedar Shoals High where half of the group is non-verbal and uses machines to communicate. With guitar in hand, Godwin typically starts therapy with her students by playing and singing along to the “Hello” song. But during one exceptional session, a non-verbal student vocally replied with a “hey.” Shock spread through the room, and she could not help but smile at the expressions of the teachers that underestimated the power of music. “There’s just so much to it [music therapy],” she said, “It’s not just holding hands and singing Kumbaya. It’s real.” Godwin dreams of opening a school of her own, where therapy, psychology and the arts can synthesize. As for music therapy or any understated field, she passionately speaks of the need for action and education. “Ignorance is the battle we’re facing right now,” Godwin said.

Godwin visits the special education department of Cedar Shoals High School every Friday for clinicals and field work.

Beauty in the Background To upcoming senior at UGA John Smith, better known as Slide20xl, the classic video game “Space Invaders” is a piece of art. Most see “Space Invaders” as a medium to satisfy their need to destroy extraterrestrial creatures; however, for Smith, the beauty of the game lies in the music. “The sound of shooting is a pitched note and the sounds of aliens exploding are all very musical,” he said. “You end up playing [the game] and shooting on beat with the background melodies.” Smith is studying music performance for viola and music composition, but his greater passion is for video game music. Video games like “Echochrome” inspire him, which he described to be Neoimpressionistic in the melodies of the string quartet and reminiscent of the Impressionist string quartet of Ravel. A well-known classic, “Sonic Adventures,” is also high in his ranks, incorporating styles of rock for some levels and hip-hop for others. His unique passion landed him a slot in the Redbull Music Academy, taking him to Madrid, Spain to work on a crowd-controlled music based video game. Smith also learned recently that he and his friends earned first place in the national Microsoft Imagine Cup competition for game design. For the upcoming fall, Slide20xl will be transferring to the Berklee School of Music, the largest independent contemporary music school in the world, to further pursue his aspirations.

SUMMER 2012

To sample Slide20xl’s game-geared tunes, visit http://flavors.me/slide20xl#_

Photos by Lyric Lewen

INSTRUMENT OF CHOICE: “I play guitar at home for fun, but cooking is how I spend most of my time and I know better than to think I’m a good enough guitar player to play out on the town.”

lthough he recognizes that this dish may initially appear intimidating, Chef Neff points out that his braised pork belly recipe is ideal for relaxing summer weekends with family and friends. You can start the pork belly curing on Saturday and finish preparing the dish on Sunday. Any excess belly meat will be perfect for making tacos during the upcoming week. Neff emphasizes that in making a recipe bursting with fresh, succulent flavors such as this, “you automatically open the door to many more advanced dishes that will make your food at home much more exciting.”

BRAISED PORK BELLY

with jalapenos, orange, avocado and arugula salad, crispy hominy and cilantro pistou

For the pork belly: 3 lbs pork belly(skin off, all fat in tact)* 2 cups kosher salt ¾ cup light brown sugar 1 teaspoon toasted whole coriander 1 teaspoon whole black pepper 2 teaspoons toasted yellow mustard seeds 3 cups low-sodium chicken stock *If pork belly is not available, pork butt may be used as a comparable substitute Mix all dry ingredients well and evenly coat the pork belly and store in a nonreactive pan covered and chilled for 24 hours. Rinse the cure off of the belly under cold water and pat the belly dry with a clean cloth. Preheat oven to 300°F. Gently sear the fatty side of the belly in a large cast-iron skillet. When evenly golden brown, transfer the belly to a large pot with a lid. Add 3 cups of low sodium chicken stock, cover and place into the preheated oven. Cook covered for 2½ hours and remove the lid and cook uncovered for an additional 1 ½ -2 hours. Once tender to the point of breaking when pushed, transfer into a large casserole dish for cooling. At this point, it is a nice trick to press and weight down the belly it cools. This can be done by placing another casserole dish on top of the belly and weighting it down with 3-4 canned items. This step presses the belly into an even slab, which will allow it to cook more evenly. Once cool, slice the belly into inch planks and slowly crisp all sides in a cast-iron skillet.

For the pistou: 1 cup clean cilantro ½ teaspoon smoked paprika 1 tablespoon minced fresh ginger 1 tablespoon fresh lemon juice 1 teaspoon kosher salt ½ cup olive oil Mix all ingredients and place into a blender. Blend until smooth.

For the hominy: 1 cup corn oil ½ small can white or yellow hominy, drained well Dry the drained hominy thoroughly with clean towels. Heat corn oil to 325°F in a heavy bottom pot that is large enough to have three inches of sides over the oil. Fry the hominy in batches of 15-20 pieces at a time until crisp. Allow to drain on a clean cloth.

For the salad: 1 avocado, peeled and sliced 1 small jalapeno (or substitute sweet peppers), thinly sliced 1 orange cut into segments 2-3 cups clean arugula

For the salad dressing: 1 tablespoon olive oil 1 teaspoon lemon juice Toss all of these ingredients in a large bowl with one tablespoon of olive oil and 1 teaspoon of lemon juice. Mix well. Put the salad onto a plate. Place a plank of crispy pork belly on this and drizzle the cilantro pistou on top. Finish with the crispy hominy.

SUMMER BEET AND

WATERCRESS SALAD

INSTRUMENT OF CHOICE:

with herbed goat cheese creme fraiche and home pickled radishes

For the herbed goat cheese creme fraiche:

1 cup heavy whipping cream 2 tablespoon buttermilk 2 tablespoons flat leaf parsley 1 tablespoon fresh dill 1 tablespoon fresh chives 8 oz goat cheese (softened at room temp.) 2 oz additional buttermilk Salt to taste Combine the heavy whipping cream and 2 Tbsp buttermilk in a glass jar and cover. Store at room temperature for 8-24 hours, until desired thickness is reached. Stir well and refrigerate.(stores for 5-7 days). Mince the parsley, dill and chives very fine. Combine the prepared creme fraiche, herbs and all remaining ingredients all in a mixing bowl with a wire whisk. Blend well until thoroughly incorporated. Strain through a fine mesh strainer and separate cheese solids into a bowl, cover and chill. Transfer resulting herbed creme fraiche to a dressing bottle and chill until serving.

“I taught myself to play guitar on my mom’s old Yamaha acoustic... that’s really the inception of it; I didn’t ever really learn other people’s music or anything like that, I just sort of forced myself to break through whatever barriers came up.”

xperience in crafting together individual songs and entire albums for his band The Ginger Envelope has well equipped Carey for a successful artistic life in numerous Athens kitchens. Offering a vivacious display of summer’s prime produce, this salad is both rich in nutrients and decadently rich in flavor. Carey advises preparing the creme fraiche, white balsamic vinaigrette and pickled radishes at least one day in advance. He explains that although the salad may seem complex at first glance, it comes together quite easily, “so don’t be afraid, have faith and dive on in and have fun with it.”

For the home-pickled radishes:

For the white balsamic vinaigrette: For the salad:

1 cup red wine 3/4 cup of vinegar 2 1/2 tablespoons kosher salt 1 teaspoon black pepper 1 tablespoon celery seed 1 bay leaf 3 cloves smashed garlic

3 sprigs fresh dill 1 bay leaf 1 cup water 2 tablespoons sugar Enough thinly sliced fresh radishes to fill a medium-sized jar Combine all ingredients but the dill in a saucepan and bring to a boil, stirring to dissolve sugar. Turn down heat and add dill sprigs, simmering for 8-10 minutes. Remove from heat and cool for 10 minutes. In the meantime, fill a medium-sized glass jar with the thinly sliced radishes. Pour the pickling liquid over the sliced radishes, cover and chill for 20 minutes to overnight. (this is a non traditional quick pickling recipe that will lend veggies ready in 20 or so minutes, but best overnight at least).

1/2 cup white balsamic vinegar Juice of 1/2 a lemon Salt and a tiny dash of white pepper 2 teaspoons fresh thyme 1 tablespoon sugar 1/4 cup olive oil Combine all ingredients except for the olive oil in mixing bowl (or food processor). Slowly add the olive oil in a thin stream while whisking vigorously (or blending) until emulsified. Adjust salt, sugar and lemon to taste. Chill until serving.

2 bunches organic beets (remove greens) 1 small bunch watercress, picked and stems discarded 1/2 bunch flat leaf parsley, picked from stems and leaves left whole

Cut tops and bottoms off beets and wash, peel and slice into rounds lengthwise, then slice into matchsticks. Blanch matchstick beets in salted softly boiling water for 4-5 min. Drain and transfer to ice water bath to halt cooking. Toss prepared beets, watercress, and whole parsley in white balsamic Vinaigrette in mixing bowl.

INSTRUMENT OF CHOICE: AND

CHILLED

CARROT GINGER SOUP

AND

5 lbs carrots 1 Tbsp finely grated fresh ginger 1 ½ cups cream 2 tsp local honey salt and pepper to taste

“I’ve been playing music since I was ten, on and off with different bands... recently, I’ve made myself really start playing again. I just missed it.”

or Manring, cooking (much like performing) is largely about satisfaction-“that simple satisfaction of making somebody’s day,” he says. With few ingredients and minimal hassle, this soup is emblematic of Manring’s culinary style, which emphasizes simple flavors and proper basic techniques. The recipe lands among Manring’s favorites for summer because while it is cool and refreshing, fresh ginger lends just enough spice for a vibrant kick.

Peel the carrots and chop into ½ inch thick pieces. Place in a large stockpot and barely cover with water. Bring the water to a boil and cook the carrots until tender. Add the fresh ginger in the last 5 minutes of cooking. Once the carrots are very tender and the ginger has been incorporated for for 5 minutes, puree with an immersion blender, adding the cream while pureeing until smooth. Season with salt and pepper to taste and stir in the local honey. Allow the soup to cool to room temperature, then chill overnight.

Zoom-Work Photography

beaded diamond earrings, $8, Cillies

Fitting to the relaxingly lively vibe that permeates an Athens summer, bright colors, loose lines and bold geometric patterns are surfacing to the forefront of Ampersand’s wardrobe. Tribal printed shorts, $34, Cheeky Peach. American Apparel neon orange crop top, $18, gold and silver knot necklace, $12, Dynamite. Dan Post Boots brown Cowboy boots, $249.99, Lamar Lewis Shoes. turquoise ring, $18.99, Cillies. purple and black printed shirt, $24.99, Cillies. “Libera” T-shirt, $10, orange swim trunks, $10, Dynamite. Puma sneakers, $54.99, Kum's Fashions. nude wedges, $39.50, Private Gallery. woven clutch, $158, Masada. !iT white denim shorts, $74, red blouse, $45, Cheeky Peach. purple tie-dye scarf, $14, Dynamite. fish necklace, $24.99, fish earrings, $16, Cillies. Daniel Boone brown suede vest, $18.50, blue and white maxi skirt, $20, Agora. bronze heart necklace, $25, Cillies. Clark’s embellished sandals, $79.99, Lamar Lewis Shoes. The North Face backpack, $99, Reef grey boat shoes, $32, Masada. OP swim trunks, $12, neon orange hat, $6, teal and orange tank top, $14, Dynamite.

Top: “dead empty” crop tank, $17, American flag backpack, $7, Cillies. !iT embellished denim shorts, $70, Cheeky Peach. troll earrings, $10, orange and black beaded bracelet, $12, Dynamite. Converse high-tops, $42, Kum’s Fashions. sunglasses with striped rims, $15, Cillies. Mono B gray and yellow maxi, $58.50, Private Gallery. olive hat, $12.00, Kum’s Fashions. peacock feather earrings, $14.00, bolo tie, $16, Dynamite. tribal gold ring, $15, Cheeky Peach. Below: Aryn K. teal sheer blouse,$108, Encore. BB Dakota cream laceshorts,$76.50, Private Gallery. bronze and red beaded earrings, $14, Dynamite. red sunglasses, $15, Cillies.

fringed wolf tee, $30, Agora. Dan Post Boots brown cowboy boots,$249.99, Lamar Lewis Shoes. Rich & Skinny cuffed orange shorts, $98.50, Private Gallery. “Dinosaur Jr.” T-shirt, $18.00, Cillies. Ray Ban sunglasses, $99.99, Kum’s Fashions. Geoffrey Beene men’s orange denim shorts,$14, Dynamite. New Balance black sneakers, $79.99, Lamar Lewis Shoes. Ariat brown combat boots, $50, olive screen print t-shirt, $10, Cillies. Patagonia plaid shirt, $69, Masada. Levi’s denim shorts, $16, Dynamite. fedora, $14.99, Kum’s Fashions. Gypsy 05 tie-dye maxi dress, $258, Encore. diamond beaded earrings, $8, pink sunglasses, $15, bone colored necklace, Cillies. gray ring, $5, Private Gallery. Aryn K. teal sheer blouse, $108, Encore. BB Dakota cream lace shorts, $76.50, Private Gallery. Laredo red western boots, $138.99, Lamar Lewis Shoes. bronze and red beaded earrings, $14, Dynamite. red sunglasses, $15, Cillies.

Looks emanating the characteristic vivacity of traditional music festivals will have you ready to frolic freely through your summer agenda, from favorite bands’ upcoming shows to a languish day out catching some rays. Left: Ray Ban sunglasses, $75, screen print tank top, $24.99, black tutu $45, Cillies. denim purse, $18, Dynamite. BB Williams cream bag, $84, tribal scarf, $16, Cheeky Peach. Banana Republic light blue crochet top, $12, black suede vest, $20, Agora. Wooden horse necklace, $18, Cillies. gold and cream beaded chandelier earrings, $14, Dynamite. Dan Post Boots brown cowboy boots, $249.99, Lamar Lewis Shoes. Gypsy 05 cream fringed dress,$198, Encore. orange Belt, $15, square wooden bangle, $15, Cheeky Peach. orange and gold ring, $12, beaded headband, $6, Dynamite. fish earrings, $16, Cillies. A special thanks goes out to Jeffers Morning (right) for rocking our photo shoot — give them a listen at jeffersmorning. bandcamp.com — and to Silverthorn Farm, operated and managed by Halley Stryker. A hunter/jumper facility and host for the UGA Club Equestrian Team. (P) 706-546-8561. silverthornfarm@gmail.com

LISTEN UP

The Breaks are: Tony Hossri – bass Blake Benson – lead guitar Cody Provost – rhythm guitar Adam Grant – drums Emily Braden– vocals

Fresh Athens artists to keep an ear out for Story by Lyric Lewen

THE

BREAKS

PHOTOS | Lyric Lewin

ven though this band has been together for less than a year, they’ve already had a number of powerful performances-- from Caledonia to Farm 255, leaving a wake of devoted fans hanging over fences straining to hear as the music flows through the streets of Athens. In a city where most jam bands have become run-of-the-mill, The Breaks aim to offer something fresh and new to their audience. With a vivacious energy, and the dedication and talent to back it up, The Breaks have broken onto a music scene that some once described as “dead.” Their mature song structures and tight musicianship set them apart from other bands in Athens. Each song is a complete thought and well articulated while exploring unique rhythmic patterns.“We’ve got a good process, but it’s not a divine process,” Cody Provost said. The members themselves come from different backgrounds with diverse musical influences. This developmental variety aids their writing as they incorporate the best elements of each artist and genre, melding it into their own style. “When we first started, there were no rock bands in Athens and people would say it’s refreshing that we’re bringing something different to the plate,” Provost said. The Breaks will be performing at AthFest on Saturday, June 23, on the Hull Street Stage at 2:15 p.m.

PHOTO | Courtesy of Cicada Rhythm

CICADA RHYTHYM

ver chips and salsa, Dave Kirslis and Andrea DeMarcus chronicle their band’s inception--from Julliard to freight train hopping in the rain, all the moments that led to their meeting and musical inspiration. Their story lends itself well to the romantic quality of their music. The ebb and flow of the melodies carry you as if driving over rolling hillsides on a country back road, blending jazz with folk. In their song, “Destroy” their voices meld together enhancing and reverberating off one another, creating a deeply rich sound. Their song “Wait ‘Til Mornin’” is reminiscent of a haunting and melodic lullaby you would listen to as you fell asleep on a summer evening. Building and climbing on an endless stretch of chords and notes, the song “Hands” transports you to another era...you are certain Billie Holiday has come to life in the voice of Andrea DeMarcus. Finding a home in Athens, a town that geographically caters to an interconnected web of music venues has helped strengthen the duo and garner exposure for their band. While they may not be playing AthFest, make sure to catch their performance at the Georgia Theatre, on July 5th.

The soulful duo that constitutes Cicada Rhythm embrace a melding of sultry southern jazz and folk genres to create a unique sound capable of taking listeners back in time. Dave Kirslis-guitar/vocals Andrea DeMarcus-upright bass/vocals

SUMMER 2012

CLEAN BREAK

ith a sound as chill and accessible as the band members themselves, Clean Break thrives on the iconic old school sound of Athens. The band members’ personalities are easy-going and genuine, just like their low-key music punctuated with heart-felt lyrics. Sam Lemley, lead guitar/vocalalist and Tim Pounds lead drummer/trombonist grew up together and decided to form a band in high school when they jokingly challenged some classmates that they could beat them in the upcoming talent competition…they did. And from that incidence, the alternative, indie band was born. Over the next four years, Clean Break wrote songs, scrapped ‘em and wrote again until they solidified themselves as a group. As they’ve advanced in the ranks of Athens music culture they said one of the best things about the town is the camaraderie that fellow musicians share with each other. It’s an environment that fosters creativity and support. That quintessential Athens feel is wound up in every strand of this music’s DNA. Their song, “So Long” is filled with organic and raw transitions, while “Headed to the North” has a western twang. The song “Prairie” would accompany any road trip or summertime cookout. The song breathes in an open-thewindows and kick-off-your-shoes kind of way--perfect for your Athens’ summer sound track.

Sam Lemley--lead guitar/vocals, Tim Pounds-lead drummer/trombone, Blake Hyatt-- lead bass/vocals, Clark Barger-- keyboard

EMILY HEARN E

mily Hearn describes Athens as a city with a soul, making it a perfect fit for the singer, who writes with transparency and gentle strength. The clarity of Hearn’s voice has been described as “angelic.” Listening to her sing is akin to standing in a stream that’s so clear and cool you can see straight through the waters. There is an element of the unexpected in her music. Despite the relatable, sing-along melodies of many of her songs, the message behind is raw and real. Her song, “Rooftop” is fresh and uplifting, while “New Orleans” is more reflective and bittersweet with a soulful dimension. One man who stumbled upon the artist at Eddie’s Attic, said he was struck by how much emotion was wrought in her lyrics. He continued that at first he felt the sadness, and then he felt hope communicated in each melodic piece. Every well-crafted song is a progression, a vulnerable look at the pain and then a triumphant advancement, carrying the audience to new heights. Hearn consistently strives to convey universal sentiments in her own homegrown/grassroots kind of way. “I wanted to tell real stories,” Hearn said. “I hope people feel it’s honest.” Emily Hearn will be performing at AthFest on Saturday, June 23 at 1:30 p.m. on the Pulaski Street Stage.

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PHOTO | LINDSAY BOYLE

PHOTO

Places like Highwire Lounge feature weekly jazz performances by some of the best artists in the city, including Lines. Lines and his trio cover the spectrum of jazz standards while inserting their own originals into the mix. For Lines, playing jazz in Athens can be a relaxed experience because many people here are not avid jazz connoisseurs. “We will play something like ‘Inner Urge,’ and I don’t think anyone really cares or knows,” Lines said. “There aren’t too many people who are coming up saying, ‘Oh is that ‘Inner Urge’? I love that album.’ As opposed to in Atlanta, everyone will go, ‘Oh you missed that chord.’ It’s kinda a different scene.” Lines attributes this unique quality of Athens’ jazz to the local jazz community’s small but thriving group of musicians. Lines understands that Athens is not a jazz town. However, this reality does not sway him from continuing as a jazz pianist and collaborator in the Classic City. “I’m not necessarily playing jazz for the elite jazz choir in New York where everyone knows the repertoire,” Lines said. “I’m focusing more on what connects to people; it could be in jazz, it could be in punk or rock or any of these realms.” Lines plays for people, and jazz is his musical language of choice. While some follow suit in bringing a traditional jazz sound to Athens ears, others fuse jazz with different genres to create a unique melodic blend.

Pop & Beyond

Rock A Spotlight on Athens

Jazz and Hip-Hop By Grafton Tanner 20

SUMMER 2012

thens, Georgia is a musical melting pot with a history steeped in various pop/rock iterations. There’s no doubt that pop and rock in its many genres still dominate the current scene, but along side it exists others that offer extremely forward-thinking excursions into new sonic territory. These musical groups are by no means underground acts-- in fact, anyone can catch them almost weekly playing sets downtown. These genres are hip hop and jazz, and though they are not spotlighted as often as indie pop and rock, they make a loud enough noise to stake a claim in Athens.

Jazzed Up P

Kenosha Kid is a musical outfit that defies genre. During a live set, Kenosha Kid, led by guitarist and effects pedals master Dan Nettles, will move from funk grooves to swirling atmospheric textures to all out rock breakdowns. Their form of instrumental music resembles the “attitude” definition of jazz. The sound is constantly changing, and their songs remain elastic enough for the musicians to throw in their own interpretations at any given moment. The group has found a crossover audience that includes lovers of many musical genres. Fans of jam bands will attend a Kenosha Kid show standing alongside what Nettles calls “uber-hip townies who like the band because of our noise qualities.” Like Lines, Nettles has created a project that speaks to people, and he enjoys making that music for the people to enjoy. Nettles recognizes that most Athens concertgoers view the scene as a social experience rather than a musical one and believes “when people get tired of some of the other stuff, they will find themselves gravitated toward us.” Nettles finds artistic satisfaction working loosely within the jazz aesthetic in a rock-centric town.

ianist Rand Lines has been active in the Athens jazz community since 2002 after graduating from the University’s PHOTO | LINDSAY BOYLE Hodgson School of Music. Lines recognizes that the word “jazz” has several meanings, some rooted in describing sound and others in defining a general attitude. “Jazz is a funny, polarizing word,” Lines said. “Artists that we think of as huge jazz artists have never really liked the word. To me, I don’t really care. I’m happy to say I play jazz and that I’m a part of that tradition.” Whether a strict musical genre or a tradition, jazz is a crucial aspect of the music scene here in Athens.

PHOTO COURTESY OF MALCOLM WALTERS

WALTER KOVAX

LOUIE LARCENY

Ath-Rap A

longside jazz is the genre of hip-hop, which thrives as a small pocket of artists outside the pop arena. Newly formed hip-hop duo Mad Axes is fronted by former Deaf Judges MC’s Louie Larceny and Walter Kovax. Their self-described “pro-life suicide rap” pays homage to the groups that started it all: Public Enemy, The Fat Boys, 2 Live Crew and other early rap acts. Though they started only four months ago, Mad Axes has become a rap force in Athens and has even shared a 40 Watt bill with experimental rap group Shabazz Palaces. Though the Ath-rap scene is small, Kovax attributes the duo’s success to their crossover appeal. The group gladly shares bills with acts of all genres. “If we just played the rap shows in town, we’d be playing for the same ten people,” Kovax said. Larceny and Kovax make rap in a town hidden in the shadow of Atlanta, the South’s hip-hop capital, and the rap scene in Athens is hardly a scene at all because the artists are separated from one another. Like any musical arena, rap goes through its ups and downs, but Mad Axes feels rap is on the upswing, and they are pushing it upward. Athens hip-hop collective RedKlay has been actively furthering the local rap scene since 2005, and their project has expanded into a full-fledged

business. The group hosts shows including Killer Mike’s return to Athens in April and also recruits new members like female MC Shamrock Da Don and Goldenboy. Shamrock, one of the newest members of the collective, is a part of the hidden talent being discovered in this small city, yet she too finds problems in a scene where rap artists refuse to come together. Goldenboy, the youngest member of RedKlay, has noticed the general lack of young hip-hop artists. “There’s no youth or fresh talent,” he noted, “especially coming from a 19-year-old point of view. It’s time for a change.” Change seems well overdue for Athens rap, but collectives like Mad Axes and RedKlay are not slowing down to turn this town into a collective of all genres.

“ “ There’s no youth or fresh talent, especially coming from a nineteen-year-old point of view. It’s time for a change.”

SUMMER 2012

Athensâ&#x20AC;&#x2122; two remaining record stores persist with passion a

Remaining on the

ssion and personality as important assets to the community

Story by Satyam Kaswala

cor d

Photos by Sarah Osbourne

ecord stores are perhaps the quickest avenues to a community’s soul. Stuffed with vinyl LPs, CDs, cassettes, films and trinkets of art iconography, they are musical repositories of our culture’s memories, feelings and ideas. Places where music of past and present sits, waiting to be found. While Athens’ two remaining record stores, Low Yo Yo Stuff and Wuxtry Records, tend to specialize in slightly different areas of music, both continue to thrive and adapt to the changing ways modern listeners consume music. Both prove that record stores still offer music seekers an experience nothing else can. “Record stores will always take on the personality of whoever the owner is,” Chris Razz, co-owner of Low Yo Yo Stuff, said.

Low Yo Yo Stuff is packed with a collection of half a million used records gathered over the past three decades. The lovingly curated hodgepodge of music leaps across all genres and eras, from midcentury Georgia folk to experimental jazz to 90s shoegaze. If it exists, there’s a chance you’ll find it nestled within the homey aisles of Low Yo Yo Stuff.

“We’re not going anywhere,” Razz said.

Distinctions If Low Yo Yo Stuff is anything like Razz, the store is passionate and friendly with an encyclopedic knowledge of music and the platforms through which it’s delivered. Razz has been selling, trading and collecting records since 1975, when he helped run the original Schoolkids store in Athens. Schoolkids at its peak had 27 stores dotted along the East Coast. The Athens location that closed in 2011 was the second to last one left standing. The sole surviving Schoolkids today is in Raleigh, North Carolina. Razz helped re-open Low Yo Yo stuff in its current location, tucked between the 40 Watt Club and Clocked, in 2010. He returned to the city after a 28-year stint running Secret Sounds in Connecticut--a store that was immortalized by Dave Grohl’s shirt on the cover of Nirvana’s iconic 1996 live album From the Muddy Banks of Wishkah. Razz was draped in a Secret Sounds shirt the day I interviewed him, as though an ode to the active role record stores play in our larger musical memory making.

Razz’s robust, chaotic inventory of music highlights why record stores remain unmatched in their importance as places of musical dissemination. They offer the possibility of discovering something so monumental and thrilling that one’s life will be shaken anew. It’s a physical adventurism that consciously searching for specific music, especially while sitting stationary and clicking through the Internet, can’t quite provide. “There’s stuff you probably can’t get anywhere and that you’re not going to hear anywhere else,” explained Razz. “You’re not going to hear it on the radio. You’re not going think to call it up. You’re going to stumble in here and find something or hear something totally off the wall. You’ll ask about it. That’s how you can discover stuff. That’s the great part.” Razz said record stores like Low Yo Yo Stuff and Wuxtry also offer a chance to personally interact with people who love music in a more rewarding way than pressing a “download” button on an anonymous, glowing screen. They are spaces of community building and fostering relationships, of making friends and having conversations. They allow for the deepest and most personal level of engagement with music.

“Personal contact is being lost now,” said Razz. “It’s a sad thing. But we are doing fine.” The modern music consumer is more willing to sacrifice the quality of sound for the convenience, inexpensiveness and portability of its format. That’s one reason Low Yo Yo Stuff no longer emphasizes current releases that aren’t local. Instead the store stockpiles a mountain of assorted used music that sounds rich rather than continually stocking brand new records. Wuxtry Records, on the other hand, focuses on contemporary releases and is more likely to carry crates packed with the latest record from Beach House. The rattling in-store speakers say as much. When I stumble into Wuxtry, I’m flooded with the cyborg grooves of “Visions,” a 2012 album by electronic producer Grimes; while in Low Yo Yo, I hear the familiar step-ladder bass and rich sound of ringing cash registers that punctuate Pink Floyd’s “Money.” Wuxtry aims to provide music seekers with a personal listening experience, whether through its two headphone listening stations (one for local music, one for new indie music) or its intimate, live in-store performances.

“We’ve got half a Mike Turner, who has helped million records in run Wuxtry for the past seven years, said that vinyl sales storage, and we’ve got have been climbing higher each year even as less people no way to get rid of them are buying CDs. Schoolkids primarily housed CDs, which other than to have this contributed to its shutdown. And though some fear that the growth of digital downloads hurts store.” the need for record stores, Turner isn’t wary.

“Everyone’s like ‘downloads are going to kill vinyls!’ But actually some positive things have emerged from that,” Turner said. “I’ve been doing this long enough not to get too phased out.” Turner, who also runs the record label Happy HapSUMMER 2012

py Birthday To Me, believes that one such positive development is that Wuxtry receives less music from major labels and far more music from independent labels. It’s a trend that has coalesced within the last five years. The avalanche of independent and community-based record labels putting out music lends even greater importance to the role of record stores in the community, as they are often the only storehouses of local music.

Common Threads Greater community outreach is a goal on Wuxtry’s horizon. The store has a history of promoting local bands by sponsoring specific shows while covering productions costs and selling their tickets. Turner hopes to do that more in the future so that local bands and venues keep thriving both financially and artistically. Low Yo Yo Stuff has been a similarly positive presence for local bands. On April 21st, Record Store Day, Razz helped put together a free daylong concert at Cine, featuring established local groups like Reptar, Pacific UV and of Montreal’s James Huggins III. Always inviting and attentive to detail, the back of Low Yo Yo Stuff ’s event flyer wasn’t blank. Scribbled in black ink was a coupon good for anything in the store. “We’re not going anywhere,” Razz said. “We’ve got half a million records in storage, and we’ve got no way to get rid of them other than to have this store and get them out to people.” As long as seekers keep searching, as long as our capacity to be moved by music (not only in sound and feeling, but also in the physical relationship involved in witnessing melodies bloom from a machine as a needle skates through the grooves of a gracefully spinning LP) persists, as long as people keep longing for authentic and meaningful connections, record stores will remain crucial. Seekers may leave record stores empty handed, but no one leaves less fulfilled.

SUMMER 2012

Photos by Lindsay Boyle

aving traveled across the country for months in support of their album, “Body Faucet,” Reptar came home to a sold-out show at the 40 Watt Club. Backstage, crammed leg-to-leg on a pickle green couch, backlit by a wide window and strands of Christmas lights, the boys of Reptar are discussing the merits of Zebra Cakes. Plastic wrappers decorate the table as they gesture wildly, laughing around mouthfuls of cake. The scene reads much more as a circle of twenty-something year-olds swapping jokes than a rock group prepping for a gig. Reptar has the feel of a band growing into themselves. Their relation to fame is reminiscent of that slightly awkward, gangly stage of adolescence. It’s not quite yet a fit; but they’re navigating a growth spurt, filling out the space between local boys and nationally recognized ‘rock stars.’ Growing Up Reptar It all began in high school, where lead singer Graham Ulicny and bassist Ryan Engelberger and keyboardist William Kennedy started making music together. Drummer Andrew McFarland later replaced the original drummer and completed the four piece. “Cause our other drummer, really sucked at drums,” Ulicny says, “and almost everything else,” Another wave of laughter fills the room. “That’s why I picked you Andrew!” Kennedy leans across the couch to shout at McFarland. They speak in a merry-goround of banter and stories, in elaborately fabricated scenarios and teasing half-truths. It’s this particular kind of chemistry that has sustained them over long treks away from home- from Albany, Georgia to Salt Lake City, Utah. “I just love these dudes, I don’t see what the big deal is!” McFarland says, countering in response to Ulicny’s tales of his neediness on and off the road. He goes on to add, “I- pretty much… we’ve toured so much that I don’t have any other friends.” The other members seem to relate to something in his statement, flirting near honesty. Before the photo shoots and full-time grind of tour, Engelberger, Kennedy, McFarland and Ulicny were students working towards their respective degrees: Ulicny at University of North Carolina in Asheville, Engelberger at Dartmouth College, Kennedy and McFarland at the University of Georgia. Only Jace Bartet, Reptar’s touring guitarist, has graduated, receiving a degree in journalism from Grady College at UGA. The four core members of Reptar halted their time at college to pursue careers in music. Although, to say they had no intention of performing in the future would be misleading at best. Engelberger, Kennedy and Ulicny all majored in music while in school, while McFarland studied carpentry. During the band’s beginnings, the members shared a house together for a summer in 2009. January of last year, the entire band moved to Athens permanently. Despite the unbelievable highs of Reptar’s journey thus far, life on the road can be just as trying. “I can’t speak for everybody ‘cause I’m sure that everybody has very specific thoughts on this,” said Ulicny, “but I think the hardest part is the moving around so much. Being away from your friends and lovers and whatever-- your family”. The others instantly respond to the sentiment. “Your sense of stability is fractured pretty hard,” Bartet says. The others meet his statement with a chorus of ‘yeahs,’ sympathetic chuckles and words of agreement. The band’s reactions are immediate and sincere, and a little bit exhausted. Ulicny chimes back in. “Yeah, it’s like time traveling, it really is,” he marvels, “It’s like you are in this bubble and when you get back you realize you’ve missed out on this important part of whatever’s happening where you live.”

A relentless love for music, love for performing and love for one another has kept Reptar charging through performance after performance with vigorous energy.

Despite their continuously escalating popularity, the boys of Reptar maintain the youthful spirit that the group was founded upon.

Up Next Reptar dropped their first full-length record, “Body Faucet,” at the beginning of May, an album title that Ulicny says “makes sense in the context of the record.” “A lot of the songs are about how people project themselves into the world, into your surroundings,” Ulicny says. The album showcases an even tighter, more streamlined version of their signature sound. Journalists and bloggers alike have been quick to project their own labels onto Reptar in an effort to peg them within the mainstream. “I’m sick of the whole ‘dance band’ thing,” Ulicny says. “It totally doesn’t describe the band at all…it could mean anything. You can dance to any kind of music.” Even so, one would be hard-pressed to argue against Reptar’s ability to get a crowd on their feet. For nearly four years now, Reptar has been breaking floorboards and inspiring noise complaints with their live shows. Not to mention, a legal battle with Nickelodeon thrown into the mix for good measure. The network holding the rights to the band’s namesake, the reptilian monster from Nickelodeon’s popular television show “Rugrats,” has indeed taken notice. Young at Heart Reptar has taken the shift from students to professional musicians in stride. The mere idea of free pizza across the street at Ted’s Most Best has them antsy with anticipation.The energetic pile of boys on the pickle green couch, in the dim backstage of the 40 Watt Club, never had a scenario such as this in mind when at Reptar beginnings. “I definitely never imagined it, that I would be in a band that, like, was successful enough and interesting enough that it could be my life,” Ulicny says. “And at this point, this band is my life.” True to the spirit of their name, Reptar brings child-like enthusiasm and zeal to the big business mentality of the industry. Onstage, they’re the kids from across the street in the roles of serious musicians, yet never losing their sense of play or place. Audiences have responded in kind to this authenticity, because the line between onlooker and performer was never truly drawn. And Reptar works to keep it that way.

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Story by Adina Solomon • Photos by Lindsay Boyle

n the music industry, men write the songs. Men play the drums. Men find the talent. Men manage tours. And the refrain is the same. The music world, with its mélange of musicians and management, is known for being principally made up of men. “Ninety-nine percent of booking agents

and musicians and venue owners in this town are male,” Hannah Zale, lead singer of Boomfox, said of Athens. And booking agents, who are responsible for finding musicians so the community can hear them, want to hear men, Zale said. But the music scene in Athens is chang-

Radio Noise T

he general music scene – radio, the national tours, singers and groups who have household names – has a different tone than the Athens scene. Zale, a mass media arts junior with a certificate in music business, said women wield less power in rock music – which is what Boomfox plays. “In the music industry, women are treated a lot of times like sex symbols rather than as the artists or the talent that they are,” she said. “I’m trying to balance that right now in my own career and give people both.” After all, it is hard to be taken seriously when wearing a turquoise body suit and heels,” Zale said. Lynn described an attitude of doubt that surrounds women in the national music scene. Female singers, drummers and bass players have more to prove than their male counterparts do. “Everyone has to prove themselves in music,” she said, “but it seems like generally people are like, ‘Oh, you’re a girl. You’re probably just singing. Oh, you are playing guitar? Well, you’re probably just playing acoustic.’” Ella Grace Downs has grown up in Athens because her mother, Dana Downs, was a musician in the Athens music scene of the 1980s. Ella Grace Downs is now promotions director at WUOG 90.5 FM, where she organizes community events and promotes the station. “There’s a lot of stigmas that still surround women in music, and there’s a lot of rules they have to follow too, and they aren’t given as much creative license as men are,” said Downs, a junior sociology major. “It’s nearly impossible to make it as an unattractive woman in the music industry as an artist, whereas it’s not a necessity for men.” People also try to pin an agenda on women, like “riot girl” or “all about female empowerment,” Downs said. Rachel Stoker, songwriter for the female duo Fae Grimalkin, said it is difficult for women to be seen as a force of talent in their respective genre. “In the past, it’s kind of been harder for women, especially women in genres that are very male-dominated like rock music or like hip-hop or something,” Stoker said, “because it’s very easy to just categorize women themselves as kind of like a genre of music.”

Women taking on the Athens music scene

ing. Alessandra Donati, executive assistant at the Georgia Theatre, said she has seen more female booking agents come to the Georgia Theatre. Athens folk singer Lera Lynn is seeing more women who play drums and bass, instruments traditionally played by men. “I think that women face some more

challenges than men do sometimes just because it’s a male-dominated business,” Lynn said. “I think that there’s generally doubt that women are capable of keeping up with men, but I do think that that is changing, and we’re starting to see women in music more and more.”

‘A really open-minded community’ But the music scene is not the same in the confines of Athens. Lynn said with its academic and artistic overtones, Athens is a progressive town. “I think Athens is a really open-minded community. I think that women are equal in Athens. I think that women and men both endure scrutiny,” she said. “The more progressive the town, the less you see of that – the more respectful and equally treated everyone is.” Vanessa Briscoe Hay was the lead singer of Pylon, an Athens rock band that toured the U.S. in the 1980s. Briscoe Hay is now the lead singer of Supercluster and a backup vocalist for the New Sound of Numbers. Pylon was made up of her and three men. “You just have to look at the very beginnings of SUMMER 2012

the music scene here even before The B-52’s. There have always been women performers here in Athens,” Briscoe Hay said. “I think that we just always felt that we were always equal to each other.” Though most booking agents and tour managers are male, Donati said she has seen more women with those positions come to the Georgia Theatre. Donati, a sociology junior with a certificate in music business who does contract-related work at the Georgia Theatre, said women possess a different ear for music than men. “I think it’s changing because a lot more women want to be in the music industry and can see themselves being profitable in the music industry,” she said. “I think in the past, it was kind of the stereotype that all managers and all booking agents and all record label associates were men. I think that that attraction of that type of job is getting more and more prevalent with women.” Downs said Athens is more laidback than other music scenes and more welcoming to diversity. “Athens is really unique in that it’s super accepting of everyone that comes through,” she said. “I’ve never felt that there’s a limit for anyone of any gender or race.” Though she noted that two major Athens bands – The B-52s and Pylon – were both fronted by women, Downs said few females lead rock or alternative country bands. In fact, most women fall into the acoustic-folk genre, she said. Zale also said the Athens scene is different because of the acoustic and folk genres women generally play – a category which Zale does not fall into. “Females in Athens are playing music that doesn’t necessarily require them to be sex symbols, whereas my rock genre kind of does,” she said. “It’s the feeling that the music kind of gives you and when you have a full band with loud percussion and a lot of shredding on guitar, you wanna feel that power on stage, and my outfits reflect that and that kind of power.” In Athens, most bands are still led by men, Stoker said. Most venue owners are men. Most booking agents are men. But it may not matter. Stoker, a senior English major, said in Athens, the genre of the music is more significant than the gender of the musician. The question of male or female is not even discussed. “It’s really easy to pit guys against girls, but I think it’s more about creating an atmosphere that’s kind of past just seeing things that look at gender and kind of just embracing artists as artists,” Stoker said. “I think it’s definitely a healthier, better environment for female musicians.”

“In Athens, the genre of the music is more significant than the gender of the musician.”

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