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Poor Hendrix — Follow-Up Sequence

Target: Poor Hendrix — neighborhood restaurant, 2371 Hosea L Williams Dr NE, Atlanta GA 30317 (East Lake; the site describes the corner as "Hosea & 2nd")

Contact: Aaron Russell & Jamie Russell, husband-and-wife owners (named on the site's "Who is Poor Hendrix?" page; no separate marketing, events, or GM contact is published anywhere)

Channel: Email poorhendrix@gmail.com (published in the site footer, primary). Alternate: Instagram @poorhendrix or Facebook facebook.com/poorhendrix — do not triple-send.

Source first-touch: registry/leads/drafts/poor-hendrix-outreach.md + targets.md F12

Generated: 2026-09-20 (night-shift)

Assumes: no reply to the first touch (the free 60–90 second piece offer)

Register: chef-driven, husband-and-wife neighborhood restaurant. Neighborhood and regulars storytelling, chef-and-craft content, and the room during service. Not a nonprofit register, not a hard sales push.

Flags — read before sending

1. Channel is email. poorhendrix@gmail.com is the only published inbox (site footer). The greeting "Aaron and Jamie" is real, but the message lands in a general box. There is no direct address for either owner and no separate marketing/events/GM contact. If a non-email route is ever needed, Instagram @poorhendrix or Facebook facebook.com/poorhendrix (both linked in the site footer) is the fallback. One channel per touch; do not double- or triple-send the same touch across email, IG, and FB.

2. Do not imply Poor Hendrix is a client. It is a cold prospect. The only org named as real prior work in this sequence is GCV's own event-documentation work (the Astronomia speaker series), held soft as "a speaker series out in Albuquerque." No other client is named.

3. Only the published facts. The five James Beard nominations and the Rising Star Chef award are the only accolades used, and they are characterized exactly as the site does (five nominations, plus a separate Rising Star Chef award — not "James Beard winner"). No invented metrics, review counts, press, menu items, staff, event dates, reservation numbers, or quotes.

4. Neighborhood naming is flagged. The site says "Hosea & 2nd"; the F12 row says "East Lake"; the 30317 zip is Kirkwood. This sequence keeps the copy to "Hosea & 2nd" and "the neighborhood," which is what the site itself says. Confirm the naming before sending if it ever matters in a touch.

5. The free first piece is already on the table from the first touch. These touches do not re-offer it as the lead; each one adds a new angle. Do not re-run the rescue-dog naming story or the chef pedigree as a lead again.

6. Stop the moment they reply. This is a conversation, not a drip. Any response restarts as a real thread and the remaining touches get dropped.

Cadence

| Touch | Timing | Channel | What it delivers |

|-------|--------|---------|------------------|

| 1 | D+5 after first touch | Email | The room during service: the pass firing, plates in the window, the front door opening on a real night |

| 2 | D+12 | Email | Free asset: "one dinner service into a 60-second neighborhood piece" shot list (Appendix A) |

| 3 | D+20 | Email | The regulars / third-place angle, with GCV's real event-doc work held soft |

| 4 | D+28 | Email | Q4 fall-to-holiday window plus the craft angle: Aaron at the pass, five nominations and a Rising Star flattened to a bio line |

| 5 | D+36 | Email | Door-open close, no ask |

Touch 1 — The room during service (D+5)

Subject: the room at 7:30

Aaron and Jamie —

A menu can be photographed. The tagline sits on the masthead. What neither one shows is the room at 7:30 on a Thursday: the pass firing, plates in the window, the front door opening and closing while the neighbors fill the bar.

Thirty seconds of that is the difference between "we've heard of it" and "let's go there tonight." That's the shot I'd point a camera at first.

If it's not the right time, no harm.

— Brandyn

ghostcoast.video

~80 words. Leads with the room during service, not the dog story or the pedigree. Concrete imagery (pass firing, plates in the window, the front door) aimed at the one thing a static page can never carry. Carries the "you pick it" thread forward from the first touch without re-offering the free piece as the headline.

Touch 2 — Free asset (D+12)

Subject: one dinner service into a 60-second piece

Aaron and Jamie —

Put together a short guide for your side of it: how to turn one dinner service into a 60-second neighborhood piece on the phone already in somebody's pocket. It's written so you could hand it to whoever's working the floor.

It's in Appendix A below, no strings. If the shot list reads like something you'd rather hand off than shoot yourselves, that's the part I do.

— Brandyn

ghostcoast.video

~65 words. Delivers the free asset without asking for anything. Appendix A is self-contained and mentions nothing GCV needs.

Touch 3 — The regulars / third place (D+20)

Subject: the regulars who know the bar by heart

Aaron and Jamie —

The story that never makes it onto a menu is the regulars. The person whose order the kitchen starts before they sit down. The couple who've had the same corner table since before Hendrix had a name.

I've documented rooms and the people in them before, a speaker series out in Albuquerque and some mission-driven storytelling work. A regular on camera does more for a neighborhood place than any photo of a plate.

If there's one regular who'd be up for it, that's a short piece that writes itself.

— Brandyn

ghostcoast.video

~90 words. The third-place angle. GCV's real work is held soft ("a speaker series out in Albuquerque," "some mission-driven storytelling work") and never named, never a results claim, and never framed as a client relationship.

Touch 4 — Q4 fall-to-holiday + the craft angle (D+28)

Subject: the stretch between now and the holidays

Aaron and Jamie —

Fall turns into the holidays fast, and that's when a neighborhood room does a lot of its year: gift cards, the regulars' annual dinner, people bringing out-of-town family to their spot. A warm reel of the room this season does that work all winter.

There's also the craft angle a static page flattens. Five James Beard nominations and a Rising Star don't come through in a bio line. Thirty seconds of Aaron at the pass, or a plate leaving the window, says it.

If the season's already mapped out, no pressure.

— Brandyn

ghostcoast.video

~90 words. Ties to the real Q4 fall-to-holiday neighborhood-dining and gift-card season without naming a specific date. The craft angle uses only the published accolades, characterized precisely (five nominations plus a Rising Star, not "winner").

Touch 5 — Door-open close (D+36)

Subject: leaving the door open

Aaron and Jamie —

I've sent a few notes and won't keep them coming if the timing's off. Running a room keeps you busy enough.

The offer stands. If Poor Hendrix ever wants the room, the two of you, or the regulars on camera, I'm around.

— Brandyn

ghostcoast.video

~45 words. No ask, no recap, no guilt. Ends warm and leaves the standing offer intact.

Appendix A — One dinner service into a 60-second neighborhood piece

The deliverable for Touch 2. Self-contained; paste into an email or drop into a Google Doc. Written for whoever's working the floor, phone in hand.

What this is. A working way to turn one real dinner service into a 60-second neighborhood piece people actually watch. No production budget. Whoever's on the floor that night shoots ten shots on a phone; you cut them together on the ride home.

The ten shots, in order.

1. The room before doors, tables set, lights down.

2. The front door opening, the first table seated.

3. The pass during service, plates going out.

4. A plate in the window, close, one dish.

5. A hand pouring at the bar.

6. A table laughing, two people, not the whole room.

7. The detail that makes the room yours, the corner that's been there since before Hendrix had a name.

8. One regular, if they'll be on camera, one line is enough.

9. The two owners at the end of the night, doors locked, lights going down.

10. The sign outside as you leave.

Cutting it. Hold each shot two or three seconds. Drop the sound and lay one track under it. Sixty seconds is ten shots, one track, done. Don't caption every frame; let one shot do the work.

Why it works. A menu photo can't make someone feel the room at 7:30. A full room, a firing pass, two owners at the end of the night can. The person who watches it doesn't get the tagline, they get the place. And the piece quietly does the asking for the next table.

Notes for Brandyn