UPW Urban Pro Weekly

UPW URBAN PRO WEEKLY APRIL 26 - 30, 2018 VOL. 7 NO. 10

hip hop breaks through Why the Pulitzer Prize folks have some catching up to do

Remembering Jazz Legend CECIL TAYLOR

kendrick lamar

UrbanProWeekly - APRIL 26 - 30, 2018

COMMUNITY

HAPPENINGS

Augusta Chorale Spring Concert Set On Sunday, May 6, 2018, the AUGUSTA CHORALE celebrates its 36th Concert Season with its Spring Concert. This year the Augusta Chorale will be joined by The Columbia County Choral Society. Featured soloists include - Tenor, Brandon Ball; Tenor, Rev. Christopher Leslie; Tenor, Patrick N. Outler; and Bass, Dr. Hawthorne E. Welcher. The Aiken Civic Orchestra, under the direction of Mr. Adam DePriest will provide orchestral accompaniment.

Dr. Anderson, artistic director of the Augusta Chorale, will conduct the production and Ms. Angela Arrington will accompany the Chorale. The performance will be held at the Gilbert-Lambuth Memorial Chapel of Paine College at 4:00 p.m. Advance tickets are $15 for adults. General admission on the day of the concert is $20.00. Discounted tickets may be purchased online atw w w.augustachorale. org or by calling (706) 830-0991.

Quarterly Legislative Update session The CSRA Business League, Inc. is hosting the Quarterly Legislative Update session with members of the Augusta Delegation to the Georgia General Assembly. The event will take place on Tuesday, May 8, 2018 at the main branch of the Augusta - Richmond County Public Library, located at

823 Telfair Street, Augusta, Georgia 30901. Doors for the event will open at 5:30 PM and the session will begin at 6:00 PM. The session is free and Refreshments will be served. For more information, please contact us at 706 722 - 0994.

SportsVIEW A GLENN HILLS TRACK ATHLETE runs the 100meter hurdles during a track meet held at Laney High School. Participating schools included Glenn Hills, A.R. Johnson and Hephzibah. (April 11, 2018 Augusta, GA) Photo by Vincent Hobbs/Sports Journal

Ben

Hasan

Unafraid to make the tough decisions

Commission District 6 Ben wants to keep the city on the move . . . •He supports increased commercial and retail development for South Augusta and other underserved neighborhoods. •He fought for the Hyde Park relocation which became a reality after decades of inactivity. •During his term, the city has positioned itself as a key stakeholder in the state and federal efforts to make Augusta ground zero in the burgeoning cyber security industry. •He supports balancing the budget on time, each year, without dipping into the fund balance.

Ben Hasan is proud to support • . . the development of the Sanitary Sewer Program to rid the county of inefficient and environmentally harmful septic tanks. • . . the initiation of a demolition program to remove blight, with more than 10 times the amount of funding that was previously available. • . . . the completion of the SPLOST 7 project list which won 62% of the vote, with a focus on infrastructure, public facilities, recreation, and public safety. • . . the enhancement public transportation services by adding new buses, initiating construction of a new maintenance facility, and funding new bus shelters.

There’s still work to be done. Vote on May 22 to keep moving forward.

Paid for by the candidate

UrbanProWeekly • APRIL 26 - 30, 2018

Don’t Miss This Event

A Pulitzer Prize judge talks about the decision to includeE hip-hop in its deliberations N

UrbanProWeekly - APRIL 26 - 30, 2018

Pulitzer Prize administrator Dana Canedy details how the selection came about and speaks to just how well-deserved Lamar and all of hip-hop is of recognition and consideration for the award.

Compton rapper Kendrick Lamar is on a roll. Earlier this month, he was awarded the Pulitzer Prize for the excellence of his latest project, DAMN. It marked the first time that the Pulitzer panel chose to recognize a hip-hop artist.

The Pulitzer folks a little slow in recognizing the depth of hip-hop culture The recent announcement that rapper Kendrick Lamar was being awarded the Pulitzer Prize in the field of music is news worthy if only because it was so unexpected. Hip hop music and culture and been around a good three decades without such a nod from the Pulitizer folks. Why now? Kendrick Lamar is standing on the broad shoulders of all the hip-hop pioneers whocleared the land — stumps and all — for the benefit of him and all who came along with him and were paying attention. But while the mainstream slept, hip -hop journalists were eager to fill the void and document every hook and sample. It wasn’t long before the advertising world found hip-hop beats and syntax compatible with their archive of coded messages and sports broadcasting producers adopted hip-hop music as part of their sonic wardrobe. And yet, no one in the mainstream arena appeared to recognize that the most successful hip hop artists are rare talents, operating within an artistic framework with definite artistic parameters and boundaries. The evolution of hip-hop is well documented in the analog, digital and print universe. What took the Pulitzer folks so long?

One could have easily asked the same of the Nobel Peace prize Committee who felt that after several decades of high-level commentary on the American psyche that it was okay to give a nod to rocker Bob Dylan for his body of work a few years ago. In the two cases — Lamar and Dylan — it seems as if the vaunted awards committees were attempting to make themselves more relevant in the ongoing American cultural discussion. BET and the NAACP Image Awards and a host of other digital platforms and broadcasting organizations have scooped the Pulitzer Prize folks by clear decades. So what does the anointing of Kendrick Lamar mean for the rapper from Compton who is riding high in the consciousness of worldwide hip-hop aficionados? We’ll have to wait and see, but one thing that happens immediately is that the open question now becomes, how many rappers past and present might have been more deserving of being the “first.”? Another thing that happens right away is that PhD candidates can devote weekends and evenings to dissecting tracks from Eric B and Rakim or Big Daddy Kane without a twinge of guilt. — Mr. B

Compton emcee Kendrick Lamar continued to make history with his fourth studio opus, DAMN. The critically-acclaimed project swept the 2018 Grammys, topped worldwide music charts and reached double-platinum status within the first year of its release. Recently, Lamar was awarded the prestigious Pulitzer Prize of 2018. The album historically marked the first non-jazz or classical work in the Pulitzer Prize for Music category, placing hip-hop on the board’s forecast for musical excellence for the first time ever as well. As the most influential genre to date, some called the accolade overdue for any artist of the genre. BET: The decision was unanimous, but what can you tell me about how the decision for Kendrick Lamar’s DAMN. came about. Dana: So, the music jury was considering several entries and the discussion turned to the fact that some of the entries seemed to be influenced by hip-hop. So someone on the jury said, ‘Well, if we’re intrigued by work that is influenced by hip-hop, why don’t we just consider hip-hop?’ Someone said that’s exactly what we should do, and one of the jurors said, ‘Like, Kendrick Lamar!’ They decided right then to listen to the entire album, and thought this is one of our finalists. BET: This is a marker for the Pulitzer Prize Board as well as hip-hop. What does that reflect about the considerations of “musical composition” excellence? Dana: I think this reflects that

hip-hop often i as brilliant as any other genre, and [Kendrick] is considered by many to be a genius in his field. This is a very sophisticated album. I would it’s a dense and sophisticated collage of hybrid sounds and polyrhythms. I would say it’s an album that is a work of vernacular avant garde.

BET: Were there any particular songs that stood out from the project that made a large impact in the decision? Dana: No, always in this category and even in books, there’s not a chapter that stands out. It’s the entire body of work. So, as every year, the entire album was considered. BET: Were there any other hip-hop albums up for consideration? Dana: No.

BET: Many critics of the Pulitzer Prize Board have said that a hip-hop artist receiving the award is long overdue. Dana: I’m glad they can no longer say that [laughs.] I think that we’re just proud that we’ve arrived at this moment, and we think this artist and his work is deserving. The selection speaks for itself.

BET: Do you think this could be a ceiling-breaker for other hip-hop artists to receive this award in the future? Dana: I think that it is quite likely that, until this year, most hip-hop artists would have never considered putting their work forward for consideration by the Pulitzer board. I hope that this means that’ll change.

EPOCHS OF COURAGE: African Americans In Golf

Now through - June 30, 2018 : Lucy Craft Laney Museum of Black History The Laney Museum is featruing “Epochs of Courage” through June 30 for the 2018 Annual Golf Exhibition at the museum. Epochs of Courage: African Americans in Golf is a traveling exhibition that explores the bittersweet evolution of African American Golf emerging from the Jim Crow Era. The interactive multimedia exhibition is designed to engage, educate, enhance, and entertain diverse audiences. This year’s exhibition focuses on the prejudices, trials, and triumphs of African Americans involved in the sport and brings to life the horrendous encounters, legal battles, and tribulations that were surmounted. Battling and overcoming the inconceivable challenges led to astounding achievements that have not yet received the accolades they

Ramona Harriet: Producer of Epochs of Courage Exhibit so well deserve. For more information or to book a group tour please call 706-724-3576. Ramona Harriet is the owner and producer of Epochs of Courage: African Americans in Golf—a traveling exhibition. She has authored and published two books—A Missing Link In History: The Journey of

African Americans in Golf and African American Golf History Brain-Aerobics. In 2017, Ms. Harriet was inducted into the African American Golfers Hall of Fame and received the “Publisher of the Year” award. In 2012 she was selected to the World Golf Hall of Fame African American Golf History Exhibition Task Force, and in 2010 to the PGA/USGA African American Golf History Task Force. She created and developed Thinking and Swinging an African American Golf History Trivia Game; and founded Swing Hope Into Action, a program dedicated to honoring African American golf legends. In 1999, she coordinated and produced African Americans and the Game of Golf: Past, Present, and Future held at The Smithsonian Associates, Smithsonian Institute.

Lucy Craft Laney Museum 3rd Annual Golf Tournament Events Golf Pairing Reception May 18, 2018 6:00 pm - 9:00 pm Lucy Craft Laney Museum of Black History

Tournament May 19, 2018 Registration 6:00 am - 7:00 am Shotgun Start 8:00 am Augusta Municipal Golf Course

The Golf Pairing reception will include live entertainment (featuring Ms. Karen Gordon and Guest Artists), food and drinks. Also featured will be the “ ‘The Journey of African Americans In Golf “ Exhibition by Ramona Harriet. The tournament on Saturday May 19, 2018 is a Four Person Scramble format. A buffet lunch and awards reception follows. Funds raised from this event will be used to support the Lucy Craft Laney Museum’s community educational programming and facility maintenance. Early Bird Registration fee, $85.00 per golfer until May 18. Day of Registration fee is $95.00 per player.

THE CITY

“A.U. to the Gizzle” hip hop video touts living in Augusta The concept of the NYC to the AUG album is to trace hip-hop artist Dr. Samp’s love of hip-hop, from the early 80’s, in his hometown of NYC, to his journey down south to S.C. and eventually, Augusta, GA. “A.U. to the Gizzle” is the first video from the Dr. Samp album, NYC to the AUG. “A.U. to the Gizzle” is specifically designed as an anthem celebrating the Augusta area. Augusta first made a splash on the National hip-hop scene in the early 90’s via Tony Mercedes, as he launched the successful singles: ‘‘Dazzey Duks”, from the group Duice and Dunkie Butt from the rapper 12 Gauge. As with most high achieving people from Augusta, Tony Mercedes would go on to work in Atlanta, crafting the hip-hop sound of that city for the likes of Jermaine Dupree and other ATL hiphop legends. With hip-hop making a strong comeback in the CSRA with an explosion of great talent, it was only proper to salute the city with a hip-hop anthem. The anthem recognizes that Augusta has lived in the shadow of Atlanta for some time now, but it also encourages Augusta to make its own mark with quality and originality. Dr. Samp is joined by EGS (Earl Grey Summers) on the track. The video features

various locations around the Augusta area including the James Brown statue and arena, Diamond Lakes, Harbor Inn restaura nt, Riverwalk, Augusta Mall, Pendelton King Park, and other quick moving shots of Augusta scenery. Dr. Samp and EGS make up the group, The Class Rumors, and put out an EP earlier this year entitled: Hip-Hop Mid-life Vol. 1, which delves into such diverse topics as police brutality, reminiscing about fond memories, public education, and other mature topics that affect everyday people, on a daily basis. . THE CHORUS: A- is for Augusta, the city where I live. U- is for the Universal Mind set that I’m in. G- is for the Guts, it takes to be different. U- is for the Unity we need in my city. S- is for Second Fiddle, that we’re playing to Atlanta. T- is for the Time, it takes to build momentum. A- is for Augusta, so the cycle is complete. Shout out to my city AKA the A.U.G.!!!!!!

5 UrbanProWeekly • APRIL 19 - 25, 2018

CULTURE

UrbanProWeekly - APRIL 26 - 30, 2018

SportsVIEW

RICHMOND COUNTY HS TRACK

GLENN HILLS TRACK ATHLETES run the 100-meter dash during a track meet held at Laney High School. Participating schools included Glenn Hills, A.R. Johnson and Hephzibah. (April 11, 2018 - Augusta, GA) - Photo by Vincent Hobbs/Sports Journal

TRACK ATHLETES COMPETE during a track meet held at Laney High School. Participating schools included Glenn Hills, A.R. Johnson and Hephzibah. (April 11, 2018 - Augusta, GA) Photo by Vincent Hobbs/Sports Journal

UrbanProWeekly â&#x20AC;¢ APRIL 26 - 30, 2018

SportsVIEW

RICHMOND COUNTY HS TRACK

A GLENN HILLS TRACK ATHLETE attempts to clear the high jump bar during a track meet at Laney High School. Participating schools included A.R. Johnson and Hephzibah. (April 11, 2018 - Augusta, GA) - Photo by Vincent Hobbs/Sports Journal

SportsVIEW

PAINE COLLEGE SOFTBALL

PAINE COLLEGE FRESHMAN PITCHER ANGEL HEARD winds up for the pitch during the second game of a softball doubleheader against Morris College at Laney field. The Lady Lions fell to the Lady Hornets 2-18 in the second game, after winning game one 13-5. (April 11, 2018 Augusta, GA) - Photo by Vincent Hobbs/ Sports Journal

8 UrbanProWeekly - APRIL 26 - 30, 2018

FORUM

In this April 14, 2016 file photo, pianist Cecil Taylor performs in an unannounced second set at the Whitney Museum of American Art in New York. Taylor, who revolutionized jazz by launching the free-jazz movement in the late ‘50s, died Thursday, April 5, 2018, at his home in New York. He was 89. (AP Photo/Barbara Woike)

Cecil Taylor’s bumpy jazz journey For more than sixty years now, Taylor, who was born in 1929, has produced, often amid great criticism, some of the more difficult, emotional, and percussive jazz improvisations ever recorded. Cecil Taylor, whose stunning and bravely unorthodox piano language made him one of the most important postwar American avant-gardists in any artistic medium, leaves more than a legacy of musical provocation after his death earlier this month. Over a career that sprawled across six full decades, Taylor maintained an

UPW Urban Pro Weekly Hephzibah, GA 30815

unwavering standard of expedition. And what he discovered — in an endless, boundless process — was a world unto himself. His dazzling pianistic signature combined explosive velocity, extravagant unpredictability, and deep attunement to the dimensions of sound. His contribution to the realm of experimental music is

profound, and his influence among improvising pianists, the current vanguard especially, can scarcely be overstated. Because he was pushing toward formal abstraction as early as the ‘50s, Taylor is often credited as a progenitor of free jazz. He regarded that distinction with a characteristic

ambivalence, because of the ways in which it boxed in the terms of his art. Taylor’s music bristles with paradoxes. The pianism could be pugilistic or delicate — often both in turn, within a single arcing phrase. His performance ritual conveyed a stern, concertizing formality, but also an offhanded, feline grace. He put a sort of manic restlessness within a larger frame of philosophical calm. The music was full of turbulence, and also an outrageous beauty. And while he could seem like the essence of artistic self-containment, Taylor enjoyed many fruitful associations — with the saxophonists Jimmy Lyons and Steve Lacy, the bassists Buell Neidlinger and William Parker, and literally dozens of others. During a brief, blessed period around the turn of this century, I saw Taylor perform in duo settings with three master drummers: Max Roach, Elvin Jones and Tony Oxley. Each collaboration sparked something entirely different in his playing, yielding its own species of revelation. Speaking of Taylor and drummers: In her 1977 book As Serious As Your Life: The Story of the New Jazz, the writer and photographer Valerie Wilmer set out to describe Taylor’s attack at the piano, coining a memorable phrase: “eightyeight tuned drums.” That proved a lasting description, though Taylor’s virtuosity at the piano was hardly limited to a percussive interface. He could also make the instrument sing, conjuring sound in a way that suggested manual contact with the strings. (Sometimes he did reach into the piano to bypass its hammering mechanics. Sometimes it only felt that way.) Taylor is hailed for his freeform improvisational genius, which captures a key truth but also obscures the degree of preparation and rigor in his work. “Form is possibility,” he wrote in the liner notes to his album Unit Structures, suggesting not an anarContinued on next page

URBAN PRO WEEKLY Publisher URBAN PRO WEEKLY MEDIA 706-306-4647 urbanpromedia@yahoo.com

CEO / Sales FREDERICK BENJAMIN SR. 706-306-4647 editor@urbanproweekly.com

Contributors VINCENT HOBBS Photography & New Media

t g i M n b e m H

Taylor from p8

ence members walked around in the Whitney’s vast gallery space, peering at archival photographs, album covers, and page upon page of Taylor’s writings – not just his oblique poetry, another important part of the picture, but also scores marked with his elaborate and esoteric systems of notation. The overall impression was of a creative mind constantly whirring

at a special frequency – irreducible, fearlessly original, unconcerned about outside preconceptions. If constructivism describes Taylor’s intention with any given performance, the word could also be said to apply to the spectacular breadth of his career. That body of work stands as one integrated structure, and we’ll be considering its mysteries for a long time to come.

HUD Secretary Ben Carson to propose raising rent for low-income Americans receiving federal housing subsidies By Tracy Jan, Caitlin Dewey and Jeff Stein The Washington Post Housing and Urban Development Secretary Ben Carson proposed far-reaching changes to federal housing subsidies Wednesday, tripling rent for the poorest households and making it easier for housing authorities to impose work requirements. Carson’s proposals, and other initiatives aimed at low-income Americans receiving federal assistance, amount to a comprehensive effort by the Trump administration and Republicans in Congress to restrict access to the safety net and reduce the levels of assistance for those who do qualify. The ambitious effort to shrink federal assistance has been dubbed “Welfare Reform 2.0’’, after Bill Clinton’s overhaul of the welfare system in 1996. The proposals — affecting housing, food stamps and Medicaid — would require congressional approval. Trump earlier this month signed an executive order directing federal

agencies to expand work requirements for low-income Americans receiving Medicaid, food stamps, public housing benefits and welfare. The agencies are supposed to issue recommendations to the White House within 90 days. Housing and Urban Development Secretary Ben Carson proposed far-reaching changes to federal housing subsidies Wednesday, tripling rent for the poorest households and making it easier for housing authorities to impose work requirements. The proposal approved by the House Agriculture Committee would expand work initiatives, mandating that most adult recipients under 60 work parttime or enroll in a state-run training program. It would apply to as many as 7 million adults. The Trump administration has also started allowing states to impose work requirements on Medicaid enrollees. The initiative unveiled by Carson would raise the rent for tenants in subsidized housing to 35 percent of gross income (or 35 percent of their earnings working 15 hours a week at the federal

minimum wage), up from the current standard of 30 percent of adjusted income. About half of the 4.7 million families receiving housing benefits would be affected, HUD officials said. The cap on rent for the poorest families would rise to about $150 a month — three times higher than the existing $50 ceiling. About 712,000 households would see their monthly rents rise to $150, the officials said. HUD wants to scrap rules allowing deductions for medical and child-care costs when determining rent, which Carson said gave some tenants an unfair advantage. Housing advocates criticized the HUD proposals as “cruel hypocrisy,” coming on the heels of tax breaks to wealthy Americans and corporations. “When we are in the middle of a housing crisis that’s having the most negative impact on the lowest-income people, we shouldn’t even be considering proposals to increase their rent burdens,” said Diane Yentel, president of the National Low Income Housing Coalition.

LETTERS

Why must Georgia accomodate hate groups like the neo-Nazis

Sadly, Georgia has a global reputation for accommodating racist hate groups. Recently, an article appeared in a British newspaper, The Daily Mail, Salute to hatred: Black-clad neo-Nazis hold a shocking swastika burning ritual in Georgia after earlier clashing with antifa protestors 40 miles away during rally celebrating Hitler’s birthday. The article stated, “Members of the

National Socialist Movement, one of the largest neo-Nazis groups in the U.S., gathered in a field to torch the wooden swastikas in a ceremony reminiscent of similar acts by other white supremacist groups such as the Ku Klux Klan. Saturday’s swastika burning took place several hours after a rally in Newnan, Georgia, which passed off without violence despite the presence of hundreds of

armed antifa protesters.” Obviously, the neo-Nazis are still not prepared to fulfil the words of Dr. Martin Luther King, Jr. who said, “I have a dream that one day on the red hills of Georgia, sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.” Nor, are neo-Nazis prepared to, “Let freedom ring from Stone

Mountain Georgia.’ Therefore, it is safe to assume neo-Nazis will not soon be joining hands with, “Black men, white men, Jews, Gentiles, Protestants, and Catholics to sing the words of the old Negro spiritual, ‘Free at last, free at last, Great God almighty, we are free at last.” Kevin Palmer Evans, GA

9 UrbanProWeekly • APRIL 26 - 30, 2018

chic detonation of musical form so much as an alternate reading, and an opening. Unit Structures was released on Blue Note in 1966, the same year that poet and historian A.B. Spellman published his incisive character study Four Lives in the Bebop Business. In the chapter on Taylor, there’s a careful exploration of the pianist’s relationship to musical form, which Taylor himself describes with the term “constructivist.” At the time – and for many years afterward – Taylor bristled at critical appraisals that emphasized his music’s congruity with European classical modernism. His own sterling model for a constructivist approach was Duke Ellington. “The emphasis in each piece is on building a whole, totally integrated structure,” Taylor said. “In doing this, we try to carry on — in ensemble as well as solo sections — the mood of a jazz soloist. I mean that principle of kinetic improvisation that keeps a jazz solo building.” Momentum is one crucial factor in that equation. (That word appears in the title of Momentum Space, an excellent 1999 summit between Taylor, Dewey Redman on tenor saxophone and Jones on drums.) So is another word, “kinetic.” Dance was always important to Taylor, not only in parallel to his music but also as a mode of expression. In concert he would often step away from the piano, moving his body in a deliberative fashion related to modern dance. This bodily awareness extended to his engagement with the piano, which wasn’t only tactile but also balletic and flowing. One of Taylor’s notable collaborations was with Min Tanaka, a dancer who had expanded from a foundation in Butoh, the highly tech-

nical Japanese dance form. It was fitting that Taylor’s last major public gesture, part of a residency at the Whitney Museum of American Art in 2016, featured a reunion with Tanaka (and Oxley, on electronic percussion). This expressionistic hour-long performance suggested a rapture in slow motion, accretive and thrilling. Before and after the music, audi-

UrbanProWeekly - APRIL 26 - 30, 2018

Arts Council announces new annual award celebrating public art; annual arts award nominations now open AUGUSTA The Greater Augusta Arts Council announced today that the Nomination Forms are now open for the 2018 Annual Arts Awards, which celebrate individuals and organizations that advance the arts in Augusta. The Arts Awards were established to recognize outstanding talent, exceptional initiative and leadership within Augusta’s vibrant arts community. In addition to the 6 awards currently distributed, the Arts Council is pleased to announce the addition of a new award: The Kath Girdler Engler Public Art Award. Named after the late Kath Girdler Engler, an accomplished local sculptor whose work appears across the CSRA, this award acknowl-

edges the power of public art to benefit Augusta economically, socially, and aesthetically. It will recognize those who are most committed to this important element of our community. Community members are encouraged to submit names of individuals, corporations, and sponsors who have supported the arts and made a difference in the Augusta River Region through their work to 6 the categories. A committee of arts and business leaders, as well as former winners, will select honorees from among the nominees in each category. The awards and more details about suitable nominees are listed below. The Annual Meeting and Arts Awards Dinner hosted by the Greater

COUNTY BOARD OF EDUCATION OF RICHMOND COUNTY The Richmond County School System will accept bids and request for proposals until 3:00 p.m., Wednesday, May 9, 2018, for the following: 1. Custodial Supplies RFQ#18-810 2. Emergency Generator Inspection and Maintenance RFP#2018-007 3. Kitchen Exhaust Hood System CleaningRFP#18-808 4. Post Event Stadium Cleaning RFP#2018-004 5. Medicaid Revenue Enhancement RFP#18-809 6. Pumping and Cleaning of Grease TrapsRFP#18-807 Bid specifications may be obtained by contacting Cecilia Perkins in the Business Office at perkice@boe.richmond.k12.ga.us or 706-826-1298, on our web site at www.rcboe.org/bids, or at Richmond County School System, Central Office 864 Broad Street, 4th Floor, Augusta, GA 30901. The Richmond County School System reserves the right to reject any and all bids and to waive technicalities and informalities. COUNTY BOARD OF EDUCATION OF RICHMOND COUNTY By: Dr. Angela D. Pringle, Secretary

Augusta Arts Council will take place Thursday, June 21, 6-8pm. Tickets and location information available in May. The Deadline to submit nominations for the 2018 Annual Arts Awards

is 5pm on May 10. More information, past winners, and the nomination form for the 2018 Annual Arts Awards can be found at augustaarts.com/ annual-arts-awards.

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