{"id":2164,"date":"2020-02-06T21:11:22","date_gmt":"2020-02-07T05:11:22","guid":{"rendered":"http:\/\/prnalumni.org\/members\/?page_id=2164"},"modified":"2020-02-07T22:23:42","modified_gmt":"2020-02-08T06:23:42","slug":"spotlight-atlanta-bliss","status":"publish","type":"page","link":"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-atlanta-bliss\/","title":{"rendered":"Spotlight: Atlanta Bliss"},"content":{"rendered":"

STORIES FROM THE PARK<\/h3>\n
\n\t

PRN Alumni Foundation is comprised of the former employees of Prince, Paisley Park, Paisley Park Records, PRN Productions, NPG Records, Love4OneAnother, any and all of Prince\u2019s companies spanning his impressive nearly 40 year career.<\/p>\n

There have been, quite literally hundreds of us in Prince\u2019s employ. The Foundation represents our collective voice.<\/p>\n

We are musicians, engineers, managers, lighting directors, wardrobe designers, stylists, makeup artists, drivers, bodyguards, admin staff, valets, drivers (and more!)<\/p>\n

This \u2018Stories From The Park\u2019 chronicle is a way for our colleagues of all tenures and job types to share a little bit of Prince\u2019s magic with you through our individual voices.<\/p>\n

We hope you enjoy getting to know us\u2026we feel as if we\u2019ve known you, Prince\u2019s fans (fam) forever <3<\/p>\n

With love and gratitude,
\nPRN Alumni Foundation<\/strong><\/p>\n

Read More Spotlights<\/a><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

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\n\t\t\"matt\n\t<\/div>\n\n<\/div><\/div>

Spotlight: Atlanta Bliss<\/h3>\n
\n\t

Follow Your Bliss -iii<<\/h1>\n

Atlanta Bliss, the first trumpeter ever to play alongside Prince, shares thoughts on his years with the musical superstar. Through his reflections, we gain insight into a question often asked when it comes to celebrity life: Is really ever possible to go home again?<\/h2>\n

Written by Father Fred Shaheen. <\/strong><\/em><\/p>\n

The recreation room in the basement of Matt Blistan\u2019s home in Western Pennsylvania is adorned with an assortment of souvenirs from a time when he was better known to the world as \u201cAtlanta Bliss.\u201d Several framed concert posters, as well as RIAA gold and platinum album sales awards awards for Prince\u2019s 1987 double album \u2018Sign O\u2019 The Times\u2019<\/em>, #1 charting \u2019Batman\u2019 and other records, grace the walls. On one end is a wet-bar and in the middle of the room, a pool table. Stowed behind the bar but still on display are books about music and travel and a few extra special mementos, among them the Grammy for \u201cBest R&B Performance by a Duo or Group\u201d awarded to Prince and the Revolution for the song \u201cKiss.\u201d There\u2019s a stereo system as well as a sizable collection of vinyl records. Music fills the room - a cassette recording of a ten-piece group Matt played in with Eric Leeds, the other half of the \u201cPrince horn section.\u201d It sounds like futuristic jazz-funk, and I tell him that it reminds me of something on a Funkadelic album. Blistan informs me that the \u201cspacey\u201d sound is in fact made by his electric trumpet and not a synthesizer. \u201cThat was a tune I wrote called \u201cSpace in Time,\u201d\u201d he says. \u201cI played a lot of electric trumpet in \u2018Takin\u2019 Names.\u201d Intrigued by Miles Davis\u2019 electric era, Matt Blistan was keen on developing an electric sound of his own.<\/p>\n

Serendipitous.<\/h3>\n

When someone mentions jazz-influenced pop music in the eighties, one might think Sting or Sade. But Prince? His most well-known songs have mined classic pop, rock, funk and rhythm and blues. But the jazz-informed side to Prince\u2019s work, including club shows, spontaneous studio sessions and pseudonymous satellite projects, under the moniker \u2018Madhouse\u2019, has either gone unheard by the masses, or been sorely under documented. Even the third Prince and the Revolution album \u2018Parade\u2019<\/em>, is an oddity. A highly original mix of jazz-tinged baroque pop and earthy funk. And although the album sold over 1.5 million copies in the US when Prince-mania was still at its peak, apart from the #1 song \u201cKiss,\u201d Parade seems to be regarded somewhat of a \u201cdeep cuts\u201d Prince record.<\/p>\n

Atlanta Bliss is the first trumpeter to play with Prince, whose recording debut with the Minneapolis superstar was on the song \u201cMountains,\u201d the final track recorded for \u2018Parade\u2019<\/em>. Is it a coincidence that Matt Blistan, now performing with the stage name Atlanta Bliss, comes on the scene just as Prince\u2019s musical universe is expanding into jazzy terrain? Looking critically at the dramatic way Prince\u2019s sound evolved - for example, between 1999<\/em> and \u2018Parade\u2019<\/em> - it wouldn\u2019t be off base to call it serendipity. The narrative could go like this: Atlanta Bliss\u2019 and Eric Leeds\u2019 entrance into Prince\u2019s musical orbit happens just as Prince begins incorporating brass instruments into his sound, forging complex arrangements of his songs on record and leading the band in stretched-out jams onstage. Or, like this: Blistan, a jazz cat at heart, who plays pop and R&B, gets called to work with arguably the greatest pop and R&B musician of the era, whose music is beginning to exhibit a serious flirtation with more traditional sounds, namely jazz. Though temperamental and moody at times, the Muse likes it when things in the universe balance out.<\/p>\n

The Universe Is Expanding.<\/h3>\n

\u201cMiles Davis was my first trumpet mentor,\u201d Matt recalls. \u201cI listened to \u2018Kind of Blue\u2019<\/em> day and night to the point where I could play his solos right along with him on the record.\u201d He also cites Randy Brecker and Freddie Hubbard as major influences. \u201cMiles and Prince were very much alike, very eclectic and never satisfied with standing still musically,\u201d Matt observes. \u201cMiles went from bebop to cool jazz, progressive jazz, electric jazz to pop. Prince went from pop to R&B to funk to rock.\u201d And in the mid-eighties, another element was added to Prince\u2019s musical pallet: brass instruments. His early albums had been essentially the work of a one-man band. Bass, guitar, drums, keyboards, synthesizers and vocals - lead and background - were largely handled solo by Prince. As for horns...well, he didn\u2019t play them so they didn\u2019t appear on his records. That approach was consistent with Prince\u2019s past-jettisoning, future-focused image. Soon, though, the artist would expand the boundaries of his home-grown funk, an inventive style often referred to as \u201cThe Minneapolis Sound\u201d, by introducing string arrangements into his work with examples being \u2018Take Me With U\u2019 and \u2018Purple Rain.\u2019 And it wouldn\u2019t be long before his band, The Revolution, was expanded to include a horn section consisting of saxophone and trumpet.<\/p>\n

Pittsburgh By Night.<\/h3>\n

Prior to Takin\u2019 Names, Matt Blistan played in Alki Steriopolous Quintet, a five-piece band, and On The Corner, a ten-piece. All three groups included his friend and \u201cmusical brother\u201d Eric Leeds. In 1979, Blistan formed his own outfit, The Parker Brothers (sans Leeds), an eight-piece in which he played trumpet and flugelhorn. \u201cWe were the house band for a Pittsburgh hotspot called The Boardwalk,\u201d he says. The club\u2019s theme was the Monopoly board,\u201d he adds, explaining the significance of the band\u2019s name (Parker Brothers is the company that gave us Monopoly). As the bandleader, Blistan says he hired the best musicians in Pittsburgh. \u201cWe all loved jazz,\u201d he says, recalling the scene at the dawn of the Eighties. \u201cBut the pop\/rock scene in Pittsburgh was big so that is where the gigs were!\u201d Blistan and Leeds, students at Pittsburgh\u2019s Duquesne University, were jazz players at heart who both loved pop and R&B too. \u201cJazz is my first love,\u201d Matt asserts. \u201cThe transition from jazz to pop\/R&B was easy,\u201d he recalls. \u201cWe found that Pittsburgh loved pop\/R&B too so we started the On the Corner band. Eric\u2019s brother, Alan Leeds, was our bands manager. We played some great pop music while incorporating a lot of our jazz concepts in that band too.\u201d<\/p>\n

Horns: Stand Up, Please.<\/h3>\n

In November of 1985, Matt Blistan was summoned to the Twin Cities by his friend and former band mate Eric Leeds, who was already playing in the expanded Revolution, to try out for Prince, who was looking for a trumpet player. At the time, Blistan was living in Atlanta, where he had relocated from Pittsburgh, and hadn\u2019t played for several months. The plan had been for him to fly up and do some sort of audition. But before he even left for Minneapolis, Matt learned that the audition was cancelled. \u201cI started to think, maybe this wasn\u2019t meant to be,\u201d he recalls. But soon Leeds called him to tell him that his audition would now be a recording session! On November 30th 1985, the basic tracking was completed for \u201cMountains,\u201d the other hit from Parade<\/em> (it reached #23 on the Pop charts).<\/p>\n

Prince had been moving his band, The Revolution, into new musical territory ever since the \u2018Purple Rain\u2019<\/em> Tour, which kicked off in November of \u201884. He began incorporating Eddie Minnefield on sax (recruited from Sheila E.\u2019s band), and from February till the end of the tour in April, Eric Leeds. For the 1986 trek, Prince expanded the lineup to from five members to a whopping eleven, adding dancers, a second guitarist, and a horn section - Eric on saxophone and \u201cAtlanta Bliss\u201d on trumpet. When he came on, there was already a \u201cMatt\u201d in the band - keyboardist Matt Fink - so Prince created a stage name for him. Blistan recalls: \u201cPrince came into rehearsal on the second day I arrived. He\u2019s dancing and playing air trumpet, and he\u2019s singing, \u2018Atlanta Bliss plays like this.\u2019\u201d The name stuck.<\/p>\n

Influences.<\/h3>\n

Upon querying Matt Blistan about his own musical background asking: Did he think that he and Prince were coming from different places musically? \u201cI think Prince was listening to many of the bands Eric and I were covering every night in our bands: Earth Wind & Fire, Average White Band, Tower of Power, Kool and the Gang, etc. And his father was a jazz musician,\u201d Matt ob-serves. \u201cBut Prince didn\u2019t really explore that kind of music until \u2018Madhouse,\u201d he says, referring to the mysterious semi fictional group - being that it wasn\u2019t really a group per se, consisting mainly of just Prince and Leeds - it became an outlet for the artist\u2019s more esoteric funk and sample-ladened instrumentals. In 1987 Madhouse released two albums on Paisley Park Records titled \u20188\u2019<\/em> and \u201916\u2019<\/em> with the no-frills titles referring simply to the number of songs on each album, and at least two more albums under that name were recorded but never released. Matt\u2019s contribution to Madhouse is officially limited to one track, \u2018Six and 1\u20442\u2019, the b-side of the track entitled simply \u2018Six,\u2019. \u2018Six\u2019 reached #5 on the Billboard Black Singles Chart and #24 on the 12-Inch Singles Sales Chart in 1987. Songs intended for yet another unreleased Madhouse album \u201926\u2019 evolved into what would become Eric Leeds\u2019 first album, \u2018Times Squared\u2019<\/em>, was released on Paisley Park Records in February, 1991. On this record, Atlanta Bliss is a prominent player, blowing his horn on five of the eleven cuts. He recalls those sessions with great enthusiasm: \u201cThey were a blast. I came into the studio and Eric had the charts waiting for me. Just like old times!\u201d<\/p>\n

The phenomenon of having the musical parts written out ahead of time (\u201ccharted\u201d) was one that Matt didn\u2019t often have the luxury of with Prince. He remembers: \u201cPrince was amazing in the studio. His creativity was in one word \u2018astounding.\u2019 He worked very quickly. When Eric and I recorded with him, he would be in the control room. Prince would sing us horn parts in our head-phones as the basic track played. Then he would rewind the tape, push the \u2018record\u2019 button and we were recording!\u201d What did he learn from the experience of working alongside someone of Prince\u2019s caliber? Bliss says, \u201cI tell musicians this all the time - you should always play with musicians better than yourself.\u201d He says that makes you push yourself even more. \u201cIf you are already the best in the band then you can\u2019t grow.\u201d<\/p>\n

Dancing With Mr. D.<\/h3>\n

That year of Madhouse, 1987, would prove to be a benchmark year in Prince\u2019s remarkable career. In the spring, Prince embarked on the \u2018Sign O\u2019 The Times\u2019 Tour in Europe, a concert run considered by some to be one of his finest. Although the tour didn\u2019t make it to North America, it was brilliantly documented on film. A good majority of audio and video in the film was then recreated on the Paisley Park soundstage due to technical problems discovered after the filming. Prince reportedly introduced the idea of a concert film to his band and crew just days before the tour was set to finish - however, witnessing him lead the band from the hypnotic dance funk of \u201cHot Thing\u201d into a Charlie Parker interlude (\u201cNow\u2019s The Time\u201d) is no less impressive because of that. A few months later, Prince would host a benefit concert on New Year\u2019s Eve 1987 on the soundstage of his newly opened Paisley Park Studio. Jazz giant Miles Davis would put in a brief appearance during \u201cIt\u2019s Gonna Be A Beautiful Night.\u201d Needless to say, Atlanta Bliss was thrilled to share the stage with his greatest musical hero. \u201cThanks to Prince,\u201d he recalls, \u201cI was lucky enough to meet Miles and even talk with him on several occasions. At our first meeting he even said, \u201cI like what you played on that last record.\u201d What better compliment could a trumpet player receive?\u201d he asks, showing great admiration and gratitude.<\/p>\n

The Aftermath.<\/h3>\n

Three years earlier, the \u2018Purple Rain\u2019 album and movie had taken Prince from hot artist on the verge to bona fide superstar. It was a true watershed. Although what he released in the wake of that success would never top it in sales, one could argue that it is more fascinating and musically intriguing. \u2018Around the World In A Day\u2019 was the first Prince album to incorporate horns, with Ed-die M. blowing saxophone on \u201cThe Ladder\u201d and \u201cTemptation.\u201d \u2018Parade', the next album, featured sax and trumpet, courtesy of Eric Leeds and Atlanta Bliss; also adding the string orchestral work of Dr. Clare Fischer, the latter having been introduced during the recording of \u2018The Family\u2019 which was released in between the two post-\u2018Purple Rain\u2019 albums. Prince never seemed content to rest on his accomplishments. Commercial success, rather than make him want to repeat a winning musical formula, challenged him to tear down the past and radically rearrange it. \u201cI never saw him repeat himself musically,\u201d Blistan says. \u201cHe never copied something he had already done because it was a hit. That mentality is what jazz is - never playing the same thing twice,\u201d he ex-plains. \u201cYou always want to create something new.\u201d Blistan recalls: \u201cOne night Eric Leeds and I walked into a home he was staying at in Hollywood when we were recording at Sunset Sound with him. Miles Davis\u2019 \u2018Sketches of Spain\u2019 was playing. It was quite a shift from the usual pop music one might imagine Prince be listening to. It was incredible to watch his pallet grow to think that maybe we even had a bit to do with it!\u201d<\/p>\n

Trifecta: Parade-Sign-Lovesexy.<\/h3>\n

Genius loves company, even thrives on it. In the wake of 1999 and its success, Prince was being exposed to different kinds of music via his closest collaborators. Wendy Melvoin, guitarist of the Revolution, and her twin sister Susannah, female voice of \u2018The Family\u2019 had grown up on Led Zeppelin and The Beatles records; Lisa Coleman of the Revolution had a background in classical music; and with Eric and Atlanta, a horn section was incorporated into the group for the first time ever. The influence of his bandmates on Prince, particularly during this period, was fascinating to witness. Indeed the run of three major albums - \u2018Parade'<\/em>, \u2018Sign O\u2019 The Times\u2019<\/em> and \u2018Lovesexy\u2019<\/em> - along with their accompanying tours, represents what a good number of his fans consider the apex of Prince\u2019s artistic creativity. Asked to pick one from that trifecta as a favorite, based on any criteria he desired, Matt choose a dark horse. Prince\u2019s infamous \u2018Black Album\u2019<\/em> that had a planned release in December 1987. Save for a few copies that were not able to be recalled when Prince suddenly decided the album was \u201cevil\u201d and pulled it after it had already shipped to record stores and didn\u2019t see an official release until 1994, And why not? The \u2018Black Album\u2019 was recorded right in between the recording sessions for \u2018Sign \u2018O The Times\u2019<\/em> and the decidedly more upbeat \u2018Lovesexy\u2019<\/em>, and was after all originally scheduled for release in that sequence.<\/p>\n

Serendipity Redux.<\/h3>\n

\u201cThat was a super creative time for Prince. Eric and I spent tons of time in the studio with him during that period,\u201d Bliss remembers fondly of 1986-88. Even more remarkable is that, in addition to the aforementioned albums, the same era produced a number of projects that were cancelled (\u2018Dream Factory\u2019<\/em>), truncated (\u2018Crystal Ball\u2019<\/em>), or like \u2018The Black Album\u2019<\/em>, given a limited release. \u201cWe were always doing something,\u201d Matt exclaims about his years with Prince. \u201cIf we weren\u2019t playing concerts, we were recording, rehearsing, filming video or doing a photoshoot. It was non-stop.\u201d I had wanted to ask him about \u201cPower Fantastic,\u201d one track in particular in which the palpable chemistry of the Revolution can be heard in full flower. Not surprisingly, Matt brought it up himself after I asked him to choose one song during the Prince years that stood out to him. More serendipity. In his liner notes to Prince\u2019s \u2018The Hits\/The B-sides\u2019, Alan Leeds has noted how most people had assumed Miles Davis played on the song, which had been circulating unofficially amongst hardcore Prince collectors for years. Matt sees that famous miscredit as nothing but a compliment of the highest order, being that it was his own hornwork on the track. The bootleg version of \u201cPower Fantastic\u201d is more complete: it includes a minute and a half intro, in which Bliss\u2019 trumpet takes the lead, that was excised when it was released officially in 1993.<\/p>\n

Outside of Prince's catalogue, Blistan has played on sessions for Patti Labelle, Kid Creole, Mavis Staples, Aretha Franklin, James Brown, Bonnie Raitt and others. Which of those did he find especially memorable? \u201cThe sessions with George Clinton were classic,\u201d he says of his work on 1989\u2019s \u2018The Cinderella Theory\u2019<\/em> and 1993\u2019s \u2018Hey Man...Smell My Finger\u2019<\/em>.\u201cGeorge brought Eric and me into the control room, played the tracks for us and let us go!\u201d In 1991, he and Eric played as the horn section in Clinton\u2019s band at a few shows. \u201cThose are nights I will never forget.\u201d He also recalls working on Sheila E.\u2019s album: \u201cWhat a player she is,\u201d he says giving praise to her musical skills and energy level.<\/p>\n

After the three notable tours, Prince took the band to Japan for a brief jaunt there in early 1989. With no new band project in the works, most of the \u2018Lovesexy' band dispersed. Matt and Eric were asked by Prince to stay close by to work on his sessions with other artists. Matt can be heard on the \u2018Batman\u2019 and \u2018Graffiti Bridge' albums, and appears briefly in the latter film. But by 1991, the session work had stopped and Blistan decided to move with his family back to the city that spawned his stage name, Atlanta and eventually all the way back home to his native Pittsburgh, Pennsylvania.<\/p>\n

It Is Possible.<\/h3>\n

When I first connected with Matt, he had been away from the music business for the better part of 25 years. Prince\u2019s unexpected death that April had brought him back into the spotlight when several Pittsburgh TV stations and newspapers, upon learning that a former Prince associate was living in the area, contacted him for an interview. When he learned of Prince\u2019s death, like many of us, Matt was shocked. He went to Minneapolis and participated in a private memorial service with his Revolution bandmates, but other than that hasn\u2019t been involved in any musical reunions or Prince tributes. Reflecting on his time with Prince, he has fond memories, many of them non-musical. He tells me how much he loved seeing Europe and Japan on the tours. He always made sure to travel in a way that allowed him to take in the local sights and not just get from venue to venue. He recounts with excitement how, on tour with Prince, he crossed paths with two of his favorite musicians, Wynton Marsalis and Sting. Presently, Matt Blistan is the National Vice President of a Fraternal Life Insurance Company, the sixth largest of such in the US. He is passionate about travel and motorcycling. At home, he seems content living life away from the music business.<\/p>\n

Back in his basement, Matt streams the newest posthumous release issued by the Prince Estate on his MacBook Pro while looking through stacks of memorabilia, some music-related and some not. Always happy and open to discussing music, he is grateful for the interest and support fans have shown to the music he worked on with Prince. \u201cPrince fans are the best!!\u201d he states emphatically. Matt shows me a few hand-written cards given to him by his former boss on birth-days, anniversaries and other special occasions. He has dates in an appointment book that record his activity during the Prince years. Whether it\u2019s a ten hour rehearsal (not unusual), a recording session, a concert, or an after-hours club show, these mementos document the dizzying pace of that unique period in the life of Matt Blistan, aka Atlanta Bliss. Seeing his personal, non-musical notes - dentist appointments and the like - logged in the same book reveals an unexpected dimension to his brush with rock and roll celebrity; one that is richly human and refreshingly down-to-earth.<\/p>\n

Atlanta Bliss\u2019 Parade<\/h3>\n

Here\u2019s a baker's dozen of Matt Blistan\u2019s most memorable musical moments:<\/p>\n

1.\tPower Fantastic - released on \u2018The Hits\/The B-sides\u2019<\/em>; extra-sublime in longer unreleased version.
\n2.\tAdore - from \u2018Sign O\u2019 The Times\u2019<\/em>.
\n3.\tPositivity - from \u2018Lovesexy\u2019<\/em>.
\n4.\tEye Know - from \u2018Lovesexy\u2019<\/em>.
\n5.\tRockhard in a Funky Place - from \u2018The Black Album\u2019<\/em>.
\n6.\tSix and \u00bd - b-side to \u201cSix\u201d released on 7\u201d and 12\u201d vinyl.
\n7.\tSlow Love - released on \u2018Sign O\u2019 The Times\u2019<\/em>; also superb live version from the film.
\n8.\tHousequake (7 Minutes Mo\u2019 Quake) - released on 12\u201d vinyl.
\n9.\tMountains extended - released on 12\u201d vinyl. Catch the video (album version) on the official Prince YouTube channel<\/a> and see if you can spot Matt and Eric doing \u201cthe wooden leg dance.\u201d
\n10.\tKiss extended - released on \u2018Ultimate Prince\u2019<\/em> and on 12\u201d vinyl.
\n11.\t\u2018Times Squared\u2019 - released on Eric Leeds\u2019 album of the same name.
\n12.\tBenefit Show for Minnesota Coalition for the Homeless at Paisley Park, New Years Eve 1987 - professionally recorded but never officially released, features a cameo by Miles Davis. Video circulates on YouTube.
\n13.\tClub Show at Trojan Horse in Amsterdam, August 19,1988 - professionally recorded but never released. Odd date in which Eric Leeds stayed back and Matt played all horn parts. <\/p>\n

***<\/p>\n

\u00a9 PRN Alumni Foundation<\/strong><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

PRN Alumni Foundation is comprised of the former employees of Prince, Paisley Park, Paisley Park Records, PRN Productions, NPG Records, Love4OneAnother, any and all of Prince\u2019s companies spanning his impressive nearly 40 year career. There have been, quite literally hundreds of us in Prince\u2019s employ. The Foundation represents our collective voice. We are musicians, engineers, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1581,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nSpotlight: Atlanta Bliss - PRN Alumni Foundation<\/title>\n<meta name=\"description\" content=\"The PRN Alumni \u201cStories From The Park\u201d Spotlight series continues with this interview with Atlanta Bliss\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-atlanta-bliss\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spotlight: Atlanta Bliss - PRN Alumni Foundation\" \/>\n<meta property=\"og:description\" content=\"The PRN Alumni \u201cStories From The Park\u201d Spotlight series continues with this interview with Atlanta Bliss\" \/>\n<meta property=\"og:url\" content=\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-atlanta-bliss\/\" \/>\n<meta property=\"og:site_name\" content=\"PRN Alumni Foundation\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/PRNalumniFDN\/\" \/>\n<meta property=\"article:modified_time\" content=\"2020-02-08T06:23:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/prnalumni.org\/members\/wp-content\/uploads\/2018\/05\/prnalumni-share.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"951\" \/>\n\t<meta property=\"og:image:height\" content=\"499\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@PrnAlumniFDN\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-atlanta-bliss\/\",\"url\":\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-atlanta-bliss\/\",\"name\":\"Spotlight: Atlanta Bliss - 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