GH Spoilers for the Week of January 24: Lies, Rejection, and Chaos

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The GH spoilers for January 24 – January 28, 2022, tease the undertaking of a personal mission, a heartfelt plea meeting with rejection, a minibreak devolving into utter chaos, and so much more. This will be a week you don’t want to miss.

GH Spoilers Highlights

In the aftermath of Luke Spencer’s (Tony Geary) chockablock with surprises memorial service, Laura Collins (Genie Francis) commits herself to ferreting out Victor Cassadine’s (Charles Shaughnessy) shady endgame.

General Hospital Spoilers: Splitsville

Look for Sonny Corinthos (Maurice Benard) to once again beg Carly Corinthos (Laura Wright) to return home in order to work on their marriage, and to once again get the cold shoulder.

GH Spoilers: Cabin In The Woods

Josslyn Jacks (Eden McCoy), Cameron Webber (William Lipton), Trina Robinson (Sydney Mikayla), Spencer Cassadine (Nicholas Alexander Chavez), and Esme Prince (Avery Kristen Pohl) arrive at Sonny’s cabin for their long-awaited get-away. Expect chills and thrills, merriment and mischief.

GH: Odds and Ends

In other GH spoilers news, an unexpected arrival at Kelly’s gives Epiphany Jonson (Sonya Eddy) quite a startle, Valentin Cassadine’s (James Patrick Stuart) curiosity is piqued, Britt Westbourne (Kelly Thiebaud) fills Peter August (Wes Ramsey) in on recent developments, and Sasha Gilmore’s (Sofia Mattsson) mere presence causes quite the stir.

Also, a tense situation at The Savoy is made all the worse, and Harmony (Inga Cadranel) comes a-calling at Alexis Davis’s (Nancy Lee Grahn), gift in hand.

Meanwhile, Brook Lynn Quartermaine (Amanda Setton) walks in on Harrison Chase (Josh Swickard) in yet another compromising situation, Curtis Ashford (Donnell Turner) reunites with a special someone at Charlie’s, and Ned Quartermaine (Wally Kurth) and Olivia Falconeri Quartermaine (Lisa LoCicero) share good news with Leo (Easton Rocket Sweda).

Finally, General Hospital spoilers warn that Maxis Jones (Kirsten Storms) will find herself in a position wherein she’s forced to concoct a not entirely believable explanation. Might Austin Gatlin-Holt (Roger Howarth) recall some inconvenient, Louise-related truth?

In case you missed it, mornings on Soap Hub are for commentary or wild speculation about General Hospital’s current stories — where they’re going, how they’re doing, and sometimes just what we’re hoping we will see in the near future in Port Charles. We’re particularly fond of this one, so please click here to read it.

General Hospital (GH) airs weekdays on ABC. Check your local listings for airtimes. For more about what’s coming up in Port Charles, check out all the latest that’s been posted on GH spoilers, and for an in-depth look at the show’s history, click here.

Surprise, soap fans! You asked for more puzzles and we listened! Look forward to daily puzzles in our spoilers, recaps, and some extra special articles.

Lin-Manuel Miranda’s unscripted ‘Freestyle Love Supreme’ delivers rhymes and joyful catharsis

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A lot has changed in Lin-Manuel Miranda’s life since he achieved dizzying global success with “In the Heights” and “Hamilton.” He’s won just about every award possible for a theater artist — multiple Tonys, Emmys, Grammys and even a Pulitzer Prize, with his name synonymous with lyrical genius.

But when Miranda, who just turned 42, reflects on the roots of his love of wordplay and his uncanny ability to make rhythmic verses about everything from friendship to the federal Treasury bounce and snap with percussive energy, he says one thing hasn’t changed since he was a young hip-hop-obsessed kid growing up in Washington Heights.

“I’m still a total nerd when it comes to rhyme,” Miranda told The Chronicle by phone from New York. “Being able to do ‘Freestyle Love Supreme’ for so many years has definitely strengthened my skills (as a lyricist). Making up a 90-minute show on the spot is unbelievable cross-training for any writer.”

On the heels of “Freestyle Love Supreme’s” second Broadway run, the joyful, unscripted production kicks off its first national tour in San Francisco on Friday, Jan. 21, with a run at American Conservatory Theater’s Geary Theater through Feb. 13.

Miranda, joined by longtime friends and collaborators Thomas Kail (director of Miranda’s “Hamilton”) and actor/master improviser Anthony “Two-Touch” Veneziale reminisced on the recent phone call — in between laughing and playfully teasing each other — about devising their first “Freestyle” shows. The trio co-created the hybrid of classic, audience-participation improvisation, hip-hop and sketch theater back in 2004 when they were all young drama geeks fresh out of Wesleyan College.

They first met in the basement of New York’s Drama Book Shop, where Miranda and Kail were prepping “In the Heights.” Soon Chris Jackson (George Washington in “Hamilton”) and Arthur Lewis were added to the mix, and they realized they all shared a knack for riffing on random words and observations, freestyling complex raps from their everyday lives and encounters.

“It’s this kind of perverse skill, to explain yourself while setting it to a beat and making it rhyme,” said Veneziale. “It’s like saying to somebody, ‘Why don’t you try doing five backflips while you’re telling me a personal story?’ ”

The three premiered “Freestyle Love Supreme” at the Edinburgh Festival Fringe in 2005 and discovered it was a crowd-pleaser. It had its first Broadway run in 2019 and received a special Tony Award in 2020. That same year, the engaging documentary “We Are Freestyle Love Supreme,” currently available on Hulu, premiered to tell the show’s origin story.

The briskly paced, intermissionless live show incorporates audience suggestions (called out and, in this time of face masks, sometimes “mimed charades-style,” said Miranda) into jokes, songs and impressively realized musical numbers. It’s a frenetic swirl of jazzlike storytelling, backed by human percussion, beatboxing and keyboards, with moments of unexpected emotional depth. Veneziale described the experience of a “Freestyle” show as being unusually cathartic for the performers as well as those watching.

Even as the founding trio’s careers have exploded in different directions, most notably as “Hamilton” achieved pop culture ubiquity, they said “Freestyle” has continued to provide “creative sustenance” and a surefire confidence boost to them as artists.

“If the goal in musical theater is to have what comes out when people break into song feel spontaneous, well, when you’re onstage with ‘FLS,’ that is actually happening when people break into song,” Miranda said.

“What you’re seeing up there is an act of pure trust with each other,” added Veneziale, who serves as the master of ceremonies for “Freestyle” and founded the Freestyle Love Supreme Academy in San Francisco where he teaches improv rapping. It’s an “I’ve got your back” ethos, he explained, using the phrase the cast says to each other backstage before every performance.

Unannounced guest appearances throughout the Geary run “will include plenty of Bay Area talent we can pull from,” said Miranda, such as Oakland native Daveed Diggs, who met the three “Freestyle” producers during the early years of the show and later went on to originate the dual roles of Marquis de Lafayette and Thomas Jefferson in “Hamilton.”

As for whether Miranda will show up unannounced at the Geary, he said, “I don’t know what my life looks like beyond this omicron close-contact lockdown I’m in, but I hope to drop in as much as I can.”

“Freestyle Love Supreme” is ACT’s first production back at the Geary since March 2020, and all three of its original artists mentioned how relevant the show feels right now, nearly two years into a pandemic that forced theaters to go dark.

“There is something remarkable about this chance to walk out onstage, look at the audience and say what can’t be said in a scripted show,” Kail said. “We know for many people this will be their first live show back, and they’re coming out to be lifted up and find joy, even when our days are filled with the challenges and uncertainties we’re all navigating.”

“Freestyle Love Supreme”: Created by Thomas Kail, Lin-Manuel Miranda and Anthony Veneziale. Friday, Jan. 21-Feb. 13. $10-$130. American Conservatory Theater’s Geary Theater, 415 Geary St., S.F. 415-749-2228. act-sf.org

Love in ‘Freestyle Love Supreme’ a bit cheesy, but restorative

Review: The deep, dark secret of Freestyle Love Supreme? Love, according to Hulu documentary

Lin-Manuel Miranda happy to pass lead role in ‘In the Heights,’ Usnavi, along to Anthony Ramos

Groundbreaking hip-hop show honors Alonzo Rodgers: ‘If you met him, you met a great person’

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Hip-hop has found a home in Knoxville, with monthly showcases planned for The Concourse on North Broadway. The first event on Jan. 20 also served as a tribute to Alonzo Mackcell Rodgers, a member of the Good Guy Collective who was shot and killed in November.

Hip-hop: Can Knoxville artists shatter the ‘glass ceiling’? It starts with community

‘Explosive’ voice, soft heart’:Singer Alonzo Rodgers remembered for his soul

Click through the gallery for the full story, or just keep scrolling.

Hip-hop artist Mr. Mack, an Alcoa native, has released dozens of mixtapes over the years and has worked alongside some of Tennessee’s top talent, including “Down in the DM” rapper Yo Gotti. But the scene in Knoxville has been overshadowed by the signature sound of Memphis hip-hop and the widespread taste for country music throughout the Volunteer State. Many local rappers talk about the “glass ceiling,” the point in which hip-hop artists reach their peak in Knoxville without much recognition beyond their peers.

For years, Jay Harris has provided a place for performers and fans of musical subcultures to gather at The Concourse, a former downtown music venue that recently moved to a shopping center on North Broadway. While hip-hop is mainstream, Knoxville artists don’t feel the same support performers receive in other cities. Harris saw similarities between the genre and the underground music the venue typically hosts. Mainly, hip-hop performers in Knoxville feel like they have no place to go – no venue large enough to help young artists grow.

If Harris was going to begin hosting hip-hop shows regularly, he knew the Good Guy Collective was the group to call. The Collective has relied on community center The Birdhouse and small venues like The Pilot Light to share their art and message. But the low capacity of these venues have limited artists’ reach. Selling a handful of tickets at The Birdhouse could mean a sell-out show, but it doesn’t help artists gauge their success. The Concourse, on the other hand, has a 1,000-person capacity with state-of-the-art equipment, a full bar and a longstanding reputation for hosting quality shows. The sky is the limit.

The first hip-hop showcase at The Concourse took place Jan. 20 and also served as a tribute to 30-year-old Alonzo Mackcell Rodgers, a member of the Good Guy Collective who was shot and killed in November. The Collective sang tracks featuring Rodgers, who performed posthumously through music videos and livestreams recorded for past projects. His powerful voice, described by friends and family as angelic, resonated with those in attendance as they shouted praise each time his chorus boomed through the speakers.

The Good Guy Collective will host hip-hop showcases at The Concourse each month under the working title “Flight School.” The group also plans to host a larger hip-hop event featuring a popular artist from outside the city four times a year. Colby Earles, who performs as Mr. Kobayashi, is an experienced member of The Collective who has seen Knoxville artists come and go without fully learning the strategies to find success. “Flight School” will focus on teaching techniques to help young artists thrive – everything from how to hold a microphone to how to communicate with venue owners about why they deserve to be in the spotlight.

Today’s hip-hop doesn’t always share the same positive message the genre was designed to promote. The Good Guy Collective’s independent sound isn’t the most popular among today’s listeners, but their focus on unity and community empowerment serve an important purpose in their hometown. Rodgers’ death is a reflection of Knoxville’s recent uptick in gun violence. The Collective has remained a close-knit group of like-minded creatives who support each other on tracks and from the side of the stage.

The first showcase allowed those who knew Rodgers to share memories of the talented big guy with a big heart. His mother, Rachel Rodgers, is thankful her son had the opportunity to experience the joy music can bring. Rodgers, the son of a preacher, brought joy to others through his infectious humor and devotion to his gospel roots. “If you met Mackcell, you met somebody great,” she said.

It’s no secret Rodgers also had a big appetite. Carrick Taylor and Rodgers, self-described “East TN fatboys,” cohosted a YouTube series dedicated to some of their favorite food from Knoxville and throughout the region. “Hanger MGMT” featured lighthearted reviews, back-and-forth banter and inquisitive conversations with chefs. Rodgers also liked to cook, which runs in the family. While his mother was known for her baking skills, Rodgers had a passion for barbecue and experimenting with his own sauces. Another friend, Aj Branner, said Rodgers was smoking a turkey the night he was shot.

An intimate group of family, friends and music lovers showed up in support for Rodgers and the greater hip-hop community Jan. 20. The showcases have room to grow, as do the artists. Music has the power to bring people together, and Rodgers was a people person. He was a dedicated family man and a Freemason, who was in the process of planning a Valentine’s Day ball for the fraternal organization. While the showcase featured somber moments of reflection, it also was highlighted by energy and joy as those in attendance celebrated the legacy he left behind.

Good Guy Collective member Jarius Bush, who performs as J.Bu$h, has spent years dedicated to helping other artists master their sound. While Bush is known for his production skills, he also is a performer in the process of releasing his “Full Beard“ trilogy of albums. But his performance on Jan. 20 wasn’t quite the same without Rodgers singing in person. He might not have noticed, Mr. Kobayashi said, but Rodgers seemed to pull fans closer to the stage when it was his turn on the mic. While Bush will miss sharing the studio and stage with Rodgers, the music must go on. Hip-hop is entering a new chapter in Knoxville, and The Concourse is its home.

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This article originally appeared on Knoxville News Sentinel: The Concourse honors Good Guy Collective member with Knoxville hip-hop

Paper Route Delivers Young Dolph Tribute Project ‘Long Live Dolph’ f/ Key Glock, Snupe Bandz, and More

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Image via Publicist

Two months after the tragic death of Memphis rapper Young Dolph, the artists that he took under his wing on his Paper Route Empire label have come together to release a compilation tape in his honor, Paper Route Empire Presents: Long Live Dolph.

Long Live Dolph features artists on the PRE roster like Key Glock, Big Moochie Grape, Kenny Muney, Jay Fizzle, Joddy Badass, Snupe Bandz, Paper Route Woo, and Chitana. Ahead of the project’s release, PRE CEO Daddyo shared a message on behalf of the label highlighting how important Dolph was to everyone and why releasing Long Live Dolph was important.

“In this life, the measure of a man isn’t what you managed to acquire, it’s how you treated other people” Daddyo said. “Did your life have meaning. Did you give more than you received. We are so grateful that his legacy has been solidified not by what he had, but what he accomplished. Since his passing, the outpouring of love and support has been overwhelming. And for this we are eternally grateful.”

The executive continued by highlighting how every artist on the label was hand-picked and chosen because Dolph knew they were special.

“Every artist on the label–Key Glock, Jay Fizzle, Moochie Grape, Kenny Muney, Joddy Badass, ChiTana, Big Unc, Snupe Bandz, and Paper Route Woo–were all hand-picked, because beyond talent, he saw in them the same hunger and determination he saw in himself,” he said. “He spent time cultivating them as artists, and mentored them until they discovered their own greatness. Each one is more than ready to fulfill their destiny. And they have the support of this entire Empire behind them.”

Listen to Paper Route Empire’s new compilation project, Long Live Dolph, down below.

More Complex

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Fog Design + Art fair and San Francisco’s art week return, adjusted for pandemic safety

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Fog Design + Art, the cornerstone of San Francisco’s unofficial art week, is back for the first time since 2020. But unlike years past, when artists, gallerists and collectors from around the world had no reservations about mixing at the fair at Fort Mason Center for Arts & Culture and satellite events throughout the city, 2022’s edition — which runs Thursday, Jan. 20, through Sunday, Jan. 23 — has a different feeling to it as the omicron variant has many approaching festivities with caution.

Several planned parties for this year’s event have canceled or rescheduled due to pandemic safety concerns, with the Untitled: Art fair already set to skip San Francisco this year.

In light of pandemic concerns, Fog organizers are making adjustments of their own, including rescheduling the fair’s Innovators Lunch to later in the spring, instituting rapid coronavirus testing requirements at the opening gala on Wednesday, Jan. 19, and limiting where food can be consumed during both the gala and the fair’s regular hours — this among enforcing all vaccine and mask mandates set by the city and state.

“The precautions are part of what has to happen as a result of doing something at the tail end (of the pandemic) or at the beginning of a new variant. (But) I feel really good about it,” said Fog founder and committee member Stanlee Gatti. “There’s something to be said about the fact that every single dealer is still participating.”

Forty-five galleries from the Bay Area and around the globe are expected to exhibit at Fog, while a score of local galleries will also be opening new shows and presenting special events in their own spaces. Those exhibitors include Anthony Meier Fine Arts, Cult Aimee Friberg Exhibitions, Haines Gallery and Jenkins Johnson Gallery. David Zwirner, Pace Gallery and Tina Kim Gallery will be among the representatives from New York, while David Gill Gallery, Gallery Fumi and Sarah Myerscough Gallery will be making the trip from London.

Fog also plans to present a series of talks with artists and curators, performances as well as screenings as part of the fair’s programming, with themes that range from the metaverse to NFTs.

“One that I’m really excited about is about the future of the arts across the Bay Area, with various leaders from different institutions talking about art museums and the different models,” said Fog committee member Susan Swig, who oversees the fair’s programming. “We’ve got some really great conversations.”

Since Fog’s inaugural year in 2013, it has helped make San Francisco a destination for the international art world in January much in the way Los Angeles, New York and Miami are during weeks when those cities host major fairs like Frieze Los Angeles, the Armory Show and Miami Beach Art Basel.

“One thing I think that sets us apart from other fairs is that we’ve created community there,” Swig said. “This year, as every year, we have a really strong lineup, a lot of talent, a lot of enthusiasm.”

For those returning to art week or experiencing Fog Design + Art and other events for the first time, here are some of the highlights:

Fog Design + Art

As guests enter the fair at the Fort Mason Festival Pavilion, they will again be greeted by Gatti’s 21 Pop installation, traditionally one of the most elaborate displays of the week.

This year, Gatti partnered with San Francisco’s Arion Press for a booth that will exhibit examples of their small-batch printings of books as well as demonstrations of the printing presses and additional aspects of bookmaking.

Other highlights include Fraenkel Gallery artist Martine Guttierez’s performance “It’s a small world[war]after all” on Thursday; the discussion titled “Shaping the Metaverse: How designers and spatial thinkers will re-create the internet,” with Archai Virtuals and One Hat One Hand founder Marcus Guillard and R & Co. principal Zesty Meyers on Friday, Jan. 21; and the panel discussion “Where Do We Go From Here?” exploring the future of the arts in the Bay Area on Saturday, Jan. 22.

For full schedule, visit www.fogfair.com.

11 a.m.-7 p.m. Thursday-Saturday, Jan. 20-22; 11 a.m.-5 p.m. Sunday, Jan. 23. $25. Fort Mason Festival Pavilion, 2 Marina Blvd., S.F.

Institute of Contemporary Art San Francisco

The new non-collecting museum launches the exhibition “Chris Martin: Ancient as Time” as a soft opening before the building is fully renovated for its official opening in the fall.

Martin, an Oakland tattoo and textile artist, has created a series of multimedia, immersive installations ruminating on ideas of contemporary injustice as part of ICA SF’s “Meantime” series of temporary programs during the building’s mid-construction phase.

“Chris Martin: Ancient as Time”: 3- 9 p.m. Saturday, Jan. 22; 3-7 p.m. Sunday, Jan 23. On view through April 16, regulars hours to be determined. Free. ICA San Francisco, 901 Minnesota St., S.F. www.icasanfrancisco.org

Crown Point Press

“End Grain: The Displaced Shadow,” a show of new photogravures by Bay Area artist Catherine Wagner, will be on view as Wagner’s first collaboration with Crown Point Press.

Wagner is known for her documentation of objects and location, and plans to debut her photo mural project at the new Yerba Buena Muni Station later this year.

“End Grain: The Displaced Shadow”: 9 a.m- 5 p.m. Monday-Friday. By appointment Saturday. On view through March 14. Free. 20 Hawthorne St., S.F. www.crownpoint.com

Paint the Void

“The City Canvas: A Paint the Void Retrospective” will exhibit 48 mural works created on the plywood that covered storefronts by artists during the COVID-19 pandemic.

The organization is a leading voice in supporting independent public art in the Bay Area.

“The City Canvas: A Paint the Void Retrospective”: Noon-6 p.m. Saturday-Sunday, Jan. 22-23 and Jan. 29-30; 4-9 p.m. Jan. 27-28. Free, $10 suggested donation. Pier 70, 901 Illinois St., S.F. www.pier70sf.com

Christie’s

Christie’s auction house is expected to present the non-selling exhibition “Witness to This Game: Selections From the Collections of Jordan D. Schnitzer and His Family Foundation” at their new San Francisco location.

The exhibition will comprise more than 60 works by artists including Mildred Howard, Mark Bradford, Derrick Adams, Alison Saar, Kehinde Wiley, Romare Bearden and Robert Colescott.

“Witness to This Game: Selections From the Collections of Jordan D. Schnitzer and His Family Foundation”: 10 a.m.-4 p.m. Monday-Friday. Thursday, Jan. 20-March 25. Free. 49 Geary St., S.F. www.christies.com

Jessica Silverman

In the main space, “Hayal Pozanti: Lingering” is the Turkish-born artist’s fourth solo show with the gallery and features new paintings following the debut of her permanent installation at the Stavros Niarchos Foundation Library in New York.

Upstairs, “Julian Hoeber: Relief From Pictures” presents eight new paintings, part of the artist’s “Constructions” series, and a new sculpture with all the featured works created in response to the permanent installation “XCJS Door, 2021” that functions as a working door to Silverman’s private viewing room.

10 a.m.-6 p.m. Tuesday-Saturday. Both shows on view through Feb. 26. Free. Jessica Silverman, 621 Grant Ave., S.F. 415-255-9508. www.jessicasilvermangallery.com

Altman Siegel

Los Angeles artist Troy Lamarr Chew II’s new solo show, “The Roof Is on Fire,” combines explorations of pop culture imagery like the intersections of cartoon characters Bart Simpson, SpongeBob and Roger Rabbit and hip-hop dance crazes with a downloadable augmented reality app that will enhance and further explain these connections in the individual paintings.

Chew was a 2018 graduate fellow at the California College for the Arts and a two-time resident artist at Headlands Center for the Arts.

“The Roof Is on Fire”: 10 a.m.-6 p.m. Tuesday-Friday; 11 a.m.-5 p.m. Saturday. On view through Feb. 19. Free. Altman Siegel, 1150 25th St., S.F. 415-576-9300. www.altmansiegel.com

McEvoy Foundation for the Arts

“Image Gardeners” highlights discussions around the representation of womanhood in photography, taking its name from the concept of “image gardening,” where a photographer builds a longstanding involvement with a subject to deepen their artistic relationship and gaze.

Diane Arbus, Zoe Leonard, Susan Meiselas, Lorna Simpson, Francesca Woodman and Stephanie Syjuco are among the artists included from the McEvoy Family Collection, as well as newly commissioned presentations by Marcel Pardo Ariza, Carolyn Drake and Chanell Stone.

Guest curator Gina Basso’s “seen only, heard only through someone else’s description” series of short films by and about women and nonbinary artists will be on view in the media room.

“Image Gardeners”: 11 a.m.-6 p.m. Wednesday-Saturday. Through April 30. Free. McEvoy Foundation for the Arts, 1150 25th St., Building B, S.F. 415-580-7605. www.mcevoyarts.org

Gallery Wendi Norris

“Three Fates” explores mythological concepts of destiny, with the fates represented in Greek mythology as three separate female figures who even held dominion over the future of the gods. The exhibition in the gallery’s offsite exhibition space features work by artists Ambreen Butt, Chitra Ganesh and Eva Schlegel contemplating how contemporary concerns like political instability, climate change and economic inequality control us now much in the way the fates were believed to.

“Three Fates”: Noon-6 p.m. Thursday-Sunday, or by appointment. Animation screenings at 1 p.m. and 5 p.m. daily. Through Jan. 30. Fort Mason Pier 2, 2 Marina Blvd, S.F.www.gallerywendinorris.com

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