A few words from Record Plug Magazine about Corndogorama: The Musical

Corndogorama: The Musical. Photo by Sam Feigenbaum

Corndogorama is back! 

It’s been eight years since our friend David Railey—a veritable Vanna White to Atlanta’s indie rock scene—hosted the Corndogorama. The DIY summer music festival is known for its casual community-oriented atmosphere and marathon of local bands on stage.

This year’s resurrection may have seemed like a Record Plug event to the uninitiated. The magazine was a key sponsor and a curator of this year’s lineup, as we sought out and rallied the bands to play all three days—June 21-23, 2024. But make no mistake, Corndogorama is the brainchild of—and the birthday party celebrating—Railey’s decades-long tenure in Atlanta’s music scene. Remember his bands? American Dream? Ancient Chinese Secret? Casionova? Day Mars Ray? Jesus Honey? The list goes on. Corndogorama has endured countless ups and downs since it kicked off at Dottie’s on Memorial Drive way back in 1996.

This year was wrought with an equal number of ups and downs. But hey, we raised $2,515 for Upbeat: The Tigerbeat Foundation for musicians, a non-profit organization dedicated to getting struggling independent musicians back on their feet via an emergency grant program.

Over the years, my [Kip’s] bands (Haricot Vert,  Freemasonry, Chocolate Kiss, Clemente, Victory Hands, et al) have played various benefit shows. Oftentimes I never heard how the numbers turned out, so I wanted everyone to know what their collective efforts raised.

The attendance for Friday was decent, Saturday turned out great, and Sunday was a bust. But that’s okay. Three days in the June heat is a big ask. But the bands played on, and we appreciate every one of you who came out, said hello, and watched the show.

It was three days of musical triumphs and logistical catastrophes: No Corndog eating contest? No vendor tents? No flip-flop parade, no ass-kissing booth? No Topo Chico! That sucked! Oh well. It’s been nearly a decade since the Corndogorama went down, and some skills have to be relearned. We’ll be back next year stronger than ever.

Saturday’s crowd warmed our hearts, and it helped cover the whole weekend’s production costs. I [Kip] personally want to thank Amos, Van, and the whole  A Rippin Production crew for keeping everything running smoothly, despite Saturday’s murderous heat. They put in the work and kept the costs low to raise as much as possible for Upbeat. Thanks are also due to Shane Pringle, Tim Song, and Boggs Social & Supply, who selflessly took no money from the ticket sales. They worked the full weekend, relying on bar sales alone to cover their end. It’s a good thing y’all drank so much.

Shane’s band Bad Spell tore up the outdoor stage on Saturday.

Pabst Blue Ribbon was an excellent sponsor, donating kegs and money, and Music Go Round saved our tails by loaning us the outdoor backline. Topo Chico! Where were you? We waited for you with bated breath and hope in our hearts, but you left us hanging. 

Ups and downs. Maybe we’ll see you next year.

A sincere and exhaustive shout-out goes to all the bands that performed throughout the weekend; those who gave their time and delivered stellar performances reminded us of why we’re in this in the first place. And we know it’s a labor of love to practice even a short set, haul yourselves and your equipment across the city to the venue, put on a show under the squelching summer sun, and then break it all down, load it up, and lug it all back to the practice space.

Absolutely 100%, Corndogorama would not have been able to raise a single penny for Upbeat without your time and energy. We’re sending the most sincere thanks to all of you. There were too many bands to name here, but we see you, and we love you. All of you. Thank you for sticking by Corndogorama (see what we did there?). See you next year! Until then, check out Alexa Kravitz and Sam Feigenbaum’s photos from Corndogorama: The Musical. — Kip Thomas (with some help from Chad Radford)

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Hammerhead Fest 12 takes over Boggs feat. After Words, Day Old Man, and more Feb. 23 & 24

Hammerhead Fest XII takes over Boggs Social & Supply Feb. 23-24 with two nights punk, post-punk, and hardcore mayhem.

Friday, February 23: Night One 
The Vaginas, Blood Circuits, Night Shrines, After Words (playing their first show since 1989), and Bog Monkey. $15. Doors open at 7 p.m

Cemetery Filth

Saturday, February 24: Night Two 
Cemetery Filth, Day Old Man, Shehehe, Breaux!, Los Ojos Muertos, Blind Oath (OK), and Billy Hangfire $15. Doors open at 7 p.m.

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Another way to rebel: Mr. Clit and the Pink Cigarettes

Photo courtesy Mr. Clit and the Pink Cigarettes

By David Sherman

Mr. Clit and the Pink Cigarettes have been a locomotive punk rock freak-out on the national DIY circuit since their 2010 inception in Indianapolis. In that time, The Pink Cigarettes have been defined by their love of all things DIY, their jubilant, unrepentant creativity, and the ferocity by which it is all held together.

Born out of a high school friendship, bassist Abby Hart and guitarist Davey Gravey originally formed a horror punk band going by the name Room 21, a reference to The Misfits’ song “Horror Hotel.” When that band ended in 2010, the friends readied their next project to play an already scheduled Halloween show. Ayesha Clarissa then joined and learned drums for the project. While the band started as a five-piece, two members quickly exited, and the trio of Clarissa, Gravey, and Hart continued to write, driven by their desire to share their music and play shows.


“Our reason for naming [the band] as flamboyantly as it is, is because we had been listening to The Mystic Knights of the Oingo Boingo, and we thought about having just a whole troupe of people playing when we were writing the songs and that’s kind of like, where the crazy name came from,” says Hart. “Our friends would always be like, ‘Hey, let’s have a party, but… let’s make it formal.’ And then as we got more into the band, we wanted to show our inspirations aesthetically for the band, so like a ‘60s, ‘50s [-era] John Waters ‘Pee-Wee’s Playhouse.’ We wanted it to be colorful and fun.” Gravey notes, “We were watching all the John Waters movies when we recorded the first stuff that we were making.” Hart adds, “And [Richard Elfman’s film] ‘Forbidden Zone.’ We chose the name because it could be a band that was in a John Waters movie. He’d be like, ‘Yes, you can be in my movie, that’s a name that fits!’”

Live, Mr. Clit and the Pink Cigarettes are an utter spectacle. The musicians throw themselves about on stage in a thrall, somehow keeping the propulsive backbeat in the pocket as Hart and Gravey alternate singing into a single microphone at center stage. The performance is immediately captivating. Driven by the force of Clarissa’s percussion, the melodies of the songs are carried by the alternating vocals of Gravey and Hart, when they aren’t screaming at the top of their lungs. The band’s sound is akin to Pixies driving too fast for conditions, or a version of The Gories that grooves until they actually, truly bite you on the shoulder when you aren’t looking.

Key to the ongoing success of the band is their DIY mentality and love of DIY culture. Hart explains, “I care if a band is good. But, I care way less if a band is good if they’re shitty people. I would rather play a show where maybe it doesn’t make full sense but everyone is on the same page about community, and DIY.” Adds Gravey, “So much of this whole thing is friends, making connections…”

Hart continues, “The bands that aren’t signed to giant labels, and even some that are signed to smaller labels, we’re all using the same contacts, we’re all in this together, I guess. And it makes it way easier when everyone’s on the same page. We all just like doing this, whether it’s successful that night or not.”

Clarissa concludes, “Being in a band gives us an excuse to do all of the different parts of it. It gives us an excuse to make a video, it gives us an excuse to make a design for a T-shirt. It gives us an excuse to dress up, it gives us an excuse to paint your instrument or your new pedal. It gives us an excuse to do things that are fun.”

The band is now looking forward to the release of a new full-length, as well as a split 7-inch with NightFreak from Chicago, both on What’s for Breakfast? Records.

Mr. Clit and the Pink Cigarettes play Boggs Social & Supply on April 18 with Television Sick, Loony, and The Vaginas. $10 (adv). $15 (door). 7:30 p.m.

David Sherman plays bass in Naw and is the saxophonist with Bad Leavers. He’s also a promoter at Jabroni Productions who booked this show.

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MSSV (Mike Baggetta, Stephen Hodges, and Mike Watt) plays Boggs on Saturday, March 26

MSSV. Photo by Devin O’Brien

Experimental rock trio MSSV, featuring guitarist Mike Baggetta, legendary Minutemen and Firehose bass player Mike Watt, and drummer Stephen Hodges (Mavis Staples, Tom Waits, David Lynch) plays Boggs Social and Supply on Saturday, March 26. Magnapop and the Buzzards of Fuzz also perform. $15. 7 p.m. Boggs Social & Supply.




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