Posts Tagged ‘Atlanta’

ACFN13

Yesterday, the fighters for Atlanta’s Corporate Fight Night 13 were on hand at the Atlanta Buckhead Mariott for the event’s weigh-in.

The premise for CFN takes white-collar professionals, students and blue-collar workers alike through a full fight camp before competing in an amateur bout for the charity Open Hands Atlanta. The card will have 14 bouts taking place in over 3 two-minute rounds.

Founded in 1988, Open Hands Atlanta packs and delivers over 5,500 meals daily to the homebound elderly, HIV/AIDS patients and those suffering from critical illnesses.  All money raised from the event will go towards the non-profit.

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The main event for CFN 13 will is intellectual and litigation attorney David Lilenfield taking on Eli Flint, VP of sales and corporate solutions for FlexJet. Both have put in at least 10 weeks of work for event. The co-main pits three-time CFN participator and CDC public works researher Lisa “Bad Company” Belcher against neurologist Sara “The Rock Doc” Shuler.

One constant I heard from the fighters was how transformative the boxing training was. Many dropped upwards of 30 pounds from training and eating right. And like many professional fighters, most were looking forward to a good meal after making weight.

Those in the Atlanta area purchase tickets at the door from the Southern Exchange Ballrooms, located at 200 Peachtree St. Doors open at 5:30 p.m. with the first bell at 7 p.m. This is a black-tie event.

Check back here shortly for streaming information.

 

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Atlanta – Season 2 Trailer

Posted: February 18, 2018 by Ismael AbduSalaam in Concert/Film/TV Reviews
Tags: , , ,

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In less than 2 weeks, Robbin’ Season begins. The official trailer for season two of the critically-acclaimed series Atlanta is here. We’re low on plot details, but after that first season, do we really need any? Season two premieres on March 1.

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Adrien Broner is back in jail. The former world champion was arrested at Atlanta’s Lennox Mall late Monday evening after being accused of¬†groping a woman.

According to BSO, Broner is accused of grabbing a woman’s genitals at the mall’s Louis Vutton store. He is being held at the Fulton County Jail with no bond.

“…units spoke with the victim who advised that she had been inappropriately groped by a male later identified as Mr. Adrien Broner,” said the Atlanta PD in a statement.¬†“Mr. Broner denied the accusations and¬†after being interviewed was charged with Misdemeanor Sexual Battery and transported to Fulton County Jail without incident.”

Broner’s last run-in with the law came¬†in September when he punched a man on the Las Vegas Strip.

He is tentatively scheduled to return to the ring on April 21 against Omar Figueroa.

Sweet James

Have you ever thought of the meaning of the word trap? – Andre 3000

When Outkast brought the concept of the “trap” to mainstream ears back in 1998, little did the world know that over 18 years later trap music would be the defining sound of post-millennium Hip-Hop. Sweet James, a 25-year-old emcee hailing from southside Atlanta, is one of many young artists whose life experiences have been defined by the sound popularized by T.I. and also the real-life dangers that come with hustling in streets. But with other strong influences coming from such legends as Curtis Mayfield, Billie Holiday and the Isleys, James also views himself as an old soul. It’s these diverse influences that merge to create the unique, melodic sound that makes up his debut album Ain’t Shit Sweet.

In this exclusive interview with BeatsBoxingMayhem, Sweet James break down how he plans to use trap to elevate consciousness in music.

BeatsBoxingMayhem: With songs like “Matter of Fact,” “Wait” and “Pressure,” you have a melodic sound but not what most of us classify as melodic in today’s Hip-Hop. It almost has a 90s R&B vibe even though you’re spitting. This isn’t what we expect from trap music so what inspired this sound?

Sweet James: That’s what I like about it. I don’t know how it came about… I’ve been rapping. Like time, everything evolves. I feel it’s just me, I don’t feel like I’m trying to make a certain sound; it just comes out like that. It fits me — I don’t be on no extra stuff. I feel like¬†if you’re in the streets for real, you don’t feel the need to talk about it and be flamboyant. It’s not anything to¬†be proud of. No, you’re doing it as an ends to a means, because there ain’t shit else to do.

It is what it is. This is how we make money and survive. I feel that’s my vibe. I’m not no extra-ass nigga. That’s where [the album title] Ain’t Shit Sweet comes from. I don’t need to come through like “nigga I’m a kill you.” I feel I’m a boss, and niggas who talk like that don’t have that boss mentality. They’re still a worker. The dude from American Gangster had a suit and tie on and clearing a million dollars per week. I’m not talking about the corner because that’s not where I want¬†to be. Niggas don’t have no guidance to understand.

That’s where I come in. I relate to everybody¬†and I know what’s going on. I know why niggas are in the street. I know why niggas sell dope, why they got jobs — it’s all to pay bills, feed your family and keep a roof over your head.

I’m a¬†very laid back individual. I like girls, I don’t like to be around a bunch of niggas. I done been locked up, I’m not trying to be around a bunch of niggas. I got a couple partners and that’s it. I like girls, money and cars. I’m not trying to be a destructive ass person.

If anything is going on illegal, it’s a means. No move is made without calculation. That’s why I “Wait” and ain’t quick to make no moves. If you listen to it for real that’s the whole song on “In My Thoughts.” [Recites lyrics] I might just tell ’em push up on me… Fuck that shit/Don’t need that press/ Don’t need that drama/I’ll sit back and count a comma

Fuck that, go count some money. You thinking about doing something stupid, go do something else. Don’t do it. Someone comes out flexing with a bag and wants something, he gotta wait because I don’t trust him. I feel the music has a message and I want people to take something from it.

BeatsBoxingMayhem: I read something recently that stated Atlanta’s murder rate is higher than Chicago’s. But based on the popular images portrayed in the music and media, most would think Atlanta is more of a party city as opposed to the dangers of trapping you discuss on “Be Safe.” Talk about the importance of illuminating the dangers of the trap that seems to be minimized these days in mainstream Hip-Hop.

Sweet James: That’s the whole purpose of music. You can take it all the way back to the Underground Railroad. They were singing their way through that shit. I don’t understand when niggas say the words don’t matter. Nigga, this was getting us to freedom! What the fuck you mean the words don’t matter? I feel a way about that because I take pride about what I say in songs. I refuse to be somebody just talking about nothing.

That may be too deep for someone but that’s the foundation of this shit. There wouldn’t be so many songs with the pain and emotion without it.

I’m wanna go in this bitch for the gusto. I ain’t trying to be no worker. The only way you end up a worker is if your words don’t mean shit.

BeatsBoxingMayhem: Even in 2017, there’s still a persistent stereotype that southern Hip-Hop, Atlanta in particular, doesn’t care much about the lyrics. In years past this has been broken in the mainstream by the likes of Outkast, T.I. and others. Does it need to be broken again?

Sweet James: I feel it’ll be broken soon. I feel like there’s so many clones out here that the originators of the styles can’t even be themselves. They have to reinvent themselves so quickly and it’s not happening organically. ¬†I’m a fan of the game but I see what’s going on. Everybody sounds the same. I’m on that 4:44 heavy and Jay has a song talking about that on “La La Land.” That’s some real shit.

I respect the hustle, it got you on. But it sucks for the orginators. I will say this — all clones eventually fall to the wayside.

BeatsBoxingMayhem: 21 Savage recently stated that authentic trap music can only come from Atlanta. The actual sound that defines trap music with the 808s is pretty much a mainstream staple now for most artists. Being that hustling is also a universal thing in most hoods, does true trap music only exist in Atlanta?

Sweet James: Authentic trap, the real deal? You can only get the Coca Cola formula from one spot. Yeah, that’s us all day. It wasn’t a term until Atlanta made it one. That is down south music. East Coast has their sound and vibe. West Coast has their vibe. I mean, I could make a Bay Area song but would it be authentic?

There’s only one type of Kool Aid. The rest of that shit is flavor-aid.

BeatsBoxingMayhem: Let’s get to the album Ain’t Shit Sweet. How many tracks and how are you expecting it to be received in today’s climate?

Sweet James: It’s 10 tracks with no guests. Everybody that’s heard me says the same thing — the music is different. It fits this climate just fine. With these millions of clones, we need a different sound. I’m a real one, I know the power of what music can do. I can fill the void. That’s why I’ve made songs like “Be Safe” and “Wait.” I want niggas to think out here. Because if I would have, I wouldn’t have went through a lot of shit.

There is a way to make your shit fire and niggas still get a gem or two out of it.

BeatsBoxingMayhem: You spoke about wanting to be a boss. One thing about Atlanta is there are a lot of aspiring bosses but not a lot of folks willing to put the work in to get to that level. We see that a lot down here…

Sweet James: There’s a lot of “I can do this for you” people in Atlanta. But I don’t believe in saying I can do something for you and making you pay a dumb ass amount of money. I’ve done everything myself these people said cost xyz¬†for way less money and the same quality. This is what I mean by a lot of fake bosses. A boss knows when they see potential and when they can use their connections for discounts. A boss will work with someone on the come-up and not tax them a crazy amount. A boss will not sell you empty promises.

I studied how the labels operate. What do I need a label to do for me? How does an album roll out? If I’m paying to get the album finalized, are we working as a unit? If you’re the boss, you’re supposed to be a leader and lead me to the other side. But if you have me out here by myself, is that a boss? A good boss is a leader and inspires confidence from their workers.

Even this interview, you’ve done your research and know the songs. I’ve sat with so-called bosses who want thousands of dollars from me and don’t even know my Instagram name. But you’re a boss? This is how you do business? That’s what made me say ‘fuck y’all’ right then and there.

A lot of these dudes claim they got keys and all they can open is the damn janitor closet.

I don’t talk a lot, I can peep game. I focus of what’s being said at all times. That goes back to my demeanor. I’m not gonna get all worked up. We’re gonna keep this shit all the way playa. There ain’t no bad blood, but I know just not to fuck with you.

I done took a lot of Ls. If I hadn’t, I’d of thought deals like that were sweet. It all goes back to thinking. They don’t want us to think or research nothing, just stay in a bubble. I want niggas to think. We do that and we can conquer a lot.

BeatsBoxingMayhem: It’s not a coincidence that a lot of best entrepreneurs and businessman in Hip-Hop came from the trap and were able to take those experiences and translate that into the legitimate world. That is also something you can argue is an American tradition going back to hustlers that came out of Prohibition like the Kennedys who finessed that into political mobility within a generation.¬†

How did you experiences mold you to be a better rapper and businessman?

Sweet James: It shows you how to read people and situations. It shows you how to see a snake or a wolf in sheep’s clothing. It shows you how to pay attention to details the average people will overlook. People forget you’re not supposed to do this forever. Yes, it can be a hypnotic lifestyle and addictive, but once you lose in the game, you start analyzing the pros and cons. Everybody loses. You then understand there is a better way to hustle without risking your life.

I’m not trying to be out here selling drugs. I did my dirt. I have things to live for and jail ain’t one of them. I’ve been to jail, I know what it’s like.¬†It don’t feel good when you have 12 behind you. Family depending on you? You’ll do whatever when you’re about to lose your house.

The criminal lifestyle is just to get out the mud. A boost, a little leg up. You know what you’re doing is wrong. That’s why they say don’t snitch because everyone knows what the fuck they’re doing. You knew the consequences of your actions. And when you really know how those consequences can put you away forever, you move smarter with the money and look for a way out. This is not supposed to be¬†a generational thing. Having generations of trappers is a no-go…and let’s throw 9-5s in there too because that’s a trap. A job is a trap. Going to a job every day that you hate. Can you leave? That’s what the trap is, you can’t leave that bitch.

This is why I feel there shouldn’t be any bad stigma on the word because everyone is trapping. Everyone has got up and said ‘fuck this job’ and went anyway because you’re trapped. It doesn’t matter what you’re doing to get money. You’re going to pay those folks off top to get that reup, that’s the taxes. So from 6am-3pm you’re trapping. That ain’t no life. How did it get like this? What makes sense about this?

If you’re washing dishes your son needs to own a restaurant. ¬†What we’re doing now is not meant to be generational. It’s always supposed to evolve and get better.

Sweet James’s debut album, Ain’t Shit Sweet, hits all streaming platforms Friday August 25. Follow him on Instagram and Twitter. Shop for gear @iamtrapcheck.

 

UndergroundShowdown.jpgUGS

Atlanta has been starving for years to get consistent pro boxing cards. The drought ends on July 1 with “Underground Showdown,” a new fight series taking place at the Buckhead Fight¬†Club.

Former title-holder¬†Terri “The Boss” Moss, who is making her promotional debut, plans to build on the success of her Corporate Fight Night series, which allowed business professionals to step into the ring for charity after rigorous weeks of training. Now, she hopes to bring boxing excitement back to a city that’s wide open for an ambitious promoter.

‚ÄúI‚Äôm thrilled to take this step as a professional promoter, after successfully promoting ¬†Atlanta Corporate Fight Night since 2010,‚ÄĚ Moss told BeatsBoxingMayhem. ‚ÄúOn July 1, Underground Showdown will have pro debut action, featuring some of my fighters as they step into the pro ranks, ¬†and amateur bouts of fighters who will also be making their pro debuts on our next card, and the night will be headlined by an 8 round main event. ¬†This series is all about bringing good, competitive boxing back to Atlanta, and also, to introduce local fighters that have champion potential.‚ÄĚ

“Underground Showdown” action takes at Buckhead Fight Club (3293 Buford Hwy. NE, #500, Brookhaven, GA).¬†¬†Doors open at 6 p.m. with the¬†first bell is 7 p.m. The weigh-in¬†and press conference, which are open to the public, commence on¬†Friday 30 at Hard Rock Cafe’s Velvet Underground. For more information, visit www.buckheadfightclub.com.

 

 

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They came, they saw, they conquered. Last night’s Golden Globes awards will likely be remembered as a celebration of diversity as Viola Davis, Tracee Ellis Ross, FX’s Atlanta and the indie hit Moonlight took home awards. But as with most breakthroughs, there are also bittersweet realities. Only the most naive of observers can dismiss the blatant hypocrisy of Hollywood’s treatment of Birth of a Nation star Nate Parker and Manchester By the Sea’s Casey Affleck, the latter taking home honors for Best Actor. This morning, let’s took a look at the winners and overlooked losers.

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TRACEE ELLIS ROSS, “blackish” (Winner, Actress in a television series, musical or comedy): First off, wasn’t Ms. Ross looking absolutely gorgeous? This was a historical win as no black actress had won since Debbie Allen in 1983. There was some stiff competition, particularly with Issa Rae also vying for a win. While I enjoyed Insecure more as a show, the range of topics touched in¬†blackish revolved around a family dynamic and required more¬†emotional and comedic acting range from Ross.

VIOLA DAVIS, “Fences” (Best supporting actress in any motion picture): Everyone that’s seen Fences has been blown away. Many have told me watching the film reduced them to tears. Naomi Harris (Moonlight), Michelle Williams (Manchester by the Sea) and Nicole Kidman (Lion) had strong performances, but Viola’s emotional monologue (which she later admitted took 23 takes) was impossible to overcome. Her acceptance speech confirmed the performance was deeply rooted in her personal life as she credited her father, who had a fifth-grade education and didn’t learn to read until 15, as the original Troy Maxson.

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ATLANTA AND THE MIGOS WIN BIG: The crew of FX’s Atlanta took home the honors of best television series while creator Donald Glover received the best actor nod. For a series that was met with mixed reviews from mainstream publications, this was quite the turnaround.

The best moment came when Glover gave props to the Migos’ hit “Bad and Boujee,” naming it one of the best songs ever. If the Migos and Glover don’t do a remix, I’d be disappointed.

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MOONLIGHT, Best Motion Picture: If you followed last night on social media, a lot of people were getting bent out of shape that Moonlight wasn’t winning. But with ensemble films, it’s more difficult to take home individuals awards. Mahershala Ali, who was nominated for best supporting actor, was in the film for all of 10-15 minutes. Yes, it was memorable, but others who carried their films the entire way will get the recognition 9/10 times.

Once I saw Brad Pitt, the film’s producer, get on stage to give a spotlight presentation, I knew Moonlight’s award was secure. It was well-deserved and hopefully encourages more studio support of projects that show the diversity of the black experience.

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THE SHADOW OF NATE PARKER AND BIRTH OF A NATION: From Sundance darling to industry pariah. The fall of Nate Parker and Birth of a Nation has been swift. I have no interest in recapping the trial transcripts, nor Parker’s guilt or innocence. What does interest me is Parker being shunned while Casey Affleck, who settled out of court for sexual misconduct and harassment, was cheered and honored last night.

That tells me a few things. One, political Hollywood clout and timing are everything. The Affleck name has power and provided a shield not given to Parker. Timing is something not many have considered. I truly believe if Parker’s scandal had occurred after Trump’s nomination, he would have garnered more support. A lot of media conversation has centered on the alt-right and their racism. Parker’s story about Nat Turner’s slave revolt¬†could have been championed as a rallying cry and the past rape accusations shot down as a smear campaign.

Second, the slave drama is dead. It doesn’t matter if we’re talking rebellion or otherwise. 12 Years a Slave was the climax and a film palatable to mainstream audiences with a white savior. A rebellion film about Turner, who spared no white man, woman or child, was not a figure that mainstream America was willing to get behind. In the black community, some didn’t want to sit through another film where we were brutalized for two hours. They had seen enough of that during the nightly news and on Twitter hashtags last year. Unfortunately, this means Birth of Nation’s failure has killed the black liberation genre before it even got started, effectively closing the door for any film dealing with other rebellions like the Haitian Revolution.

Third, separating art from the artist was not a luxury for Parker. It was absurd to watch the leaps in logics as critics morphed Birth of a Nation from a Sundance standout to a “problematic” and “flawed” film after the scandal. Suddenly, the historical truths of white slave masters¬†raping black women couldn’t be stomached because of Parker’s history. Do I think BOAN should have been nominated for Best Picture? No, but Parker and Aja Naomi King’s individual performances were certainly worthy of Globe nominations.

If you’re looking for a silver lining, just remember that Hollywood and the media loves a comeback story. Look no further than Mel Gibson, who was in attendance last night for his Best Director nomination (Hacksaw Ridge).

Hit the comments below and speak on your favorite Golden Globe moments.

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Gucci Mane and Future surprised the music world tonight with the release of a new mixtape EP entitled Free Bricks: Zone 6 Edition. The six-song project has no guests and contains mostly brooding trap production handled by Metro Boomin, Zaytoven and Southside. According to Gucci, these songs aren’t even 24 hours old.