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Slug
Cuts Like Ginsu Underground hip hop, emo-rap, indie-rap, whatever you want to call it — it is undoubtedly a colossal "subculture" for sure, valuable to the evolution of hip hop culture.
Atmosphere, one of these DIY groups, composed of DJ Mr. Dibbs, producer Ant and MC Slug, is leading the way in this underground scene. The group's newest release SE7EN, volume 7 in the legendary Rhymesayers Headshots series, bubbles with hot rare tracks recorded between 1997 and 1999. It's full of robust, blunted beats so thick and gooey it feels like butter churning in your eardrums. And Slug, the MC of the group, spits with such a sharp, fiery cadence, his words seem as quick and deadly as sniper rounds. Ever since Atmosphere's 2003 release Seven's Travels on seminal punk label Epitaph, fans and critics have praised MC Slug for bringing "thought provoking lyrics" and a punk DIY ethic to a commercial rap world overwhelmed by a "bling 'n' bitches" mentality. But all this talk of something being groundbreaking because it's "indie" rather than "commercial" is seriously gag-worthy. Slug still employs the same lyrical devices, the same bling 'n' bitches mentality (or at least the bitches part), as commercial artists, say Lil Jon, in order to secure his fan base. Having indie-cred for sporting a soul patch, releasing records on Epitaph and Rhymesayers and palling around with MF Doom does not morph Slug's sexist lyrics into "thought-provoking" ones. You cannot disguise lines such as, "I got sluts that love to give head and I like to watch," from the track "The Stick Up," with euphemisms such as "heartfelt lyrics," as some reviewers like to put it. Glossing over a few songs, denying their existence in favor of the guy's affiliations or background, does not change what he says or who he is. Slug pulls no punches when it comes to saying what he wants about women. Some fans need to come to terms with that. But this is not an attack — the guys in Atmosphere deserve the praise they've received, not because they're hip and punk, but because the group is genuinely talented. This is, however, an indictment of indie-snobs trying to masquerade as rap fans. Go and see Atmosphere based on the fact that Ant creates burly beats and Slug delivers slick rhymes. Don't see them because they're "indie" or "non-commercial." That's stupid … It's all rap.
Halfmoon
Setting "All I wanna do is rock mics for a living," No Nami Halfmoon once said. And that's one of the hardest jobs in the world. It takes persistence, focus, talent, networking skills and patience for the ups and downs that any creative path requires.
In the last 10 years, I've seen a lot of people in the local hip hop scene drop in and out of this passionate pursuit. But No Nami Halfmoon worked that job to the bone and never fell off when it came to his music. As a fellow MC, when I heard Nami on stage, on a tape, and especially in a freestyle cipher, I knew I needed to work a lot harder because he showed the hip hop generation's potential for Eugene. Nami arrived from Nebraska in the mid-'90s with a high top fade and quickly linked up with a local crew, the Organics. Sage, Shortround, Mattic and Nami started doing shows together in Eugene and Portland at places like the old Icky's Teahouse, The Nexus, the Agate and the WOW Hall for crowds of younger hip hop and punk rock fans. They earned the respect of other local bands and we started to see Organics on more posters and flyers around town. Along with stage shows, they made a name for themselves locally by rocking neighborhood house parties and dominating freestyle ciphers every chance they got. During the next few years, they formed The Greenhouse Effect, a larger crew with more like-minded MCs, graffiti artists, DJs and b-boys. They headlined dozens of shows and opened up for most of the bigger acts that came into town. There was solidarity in the scene even as it grew. And because he got along with everybody, Nami was sort of the ambassador of that era. He settled beefs between groups, got different people working together and always kept a smile on his face. When the Organics split, they all stayed busy with their own projects and later reunited with offshoot groups like the Point Blank Rangers, Plan B and the Burn Unit. In those days Nami was still playing Mr. Miyagi to a whole generation of little Karate Kid MCs. There were only a few local crews doing hip hop, so the kids in the community looked up to Nami like a cool older brother. He took us under his wing and always had advice when we needed it. We were all proud of the things he had achieved in this town, and he was proud of us. When we got a little older and started performing at our own shows, Nami was always there, getting down in the front row. During these last few years, we've all performed together as peers on the same bill or in the same crews. We've seen the scene expand from its humble beginnings and have been taken aback by the enthusiasm this community has shown toward unique Northwest hip hop. It's a direct testimony to the influence that Nami had on all of us. Not only did he help pave the road, but he painted the lines that kept us to the right. Nami embodied all of Eugene and hung out with everybody from hip hoppers to punk rockers, hippies to D&D heads. A few weeks ago, No Nami Halfmoon passed away. Our community has lost one of the most personable and prolific artists to ever call this place home. He greatly influenced the monumental movement that is Northwest hip hop and touched the lives of thousands through his music, personality and vibrant nature. Nami showed us the importance of maintaining our creativity, dignity, and sense of humor throughout all of our pursuits. So I say "Thank you, No Nami Halfmoon. Your impact on all of us will never be forgotten. Rest in peace."
Jump
in the Jig-Pit The last time The Young Dubliners performed in town they literally tore the roof off the building. Hungover and spent from the previous night's performance and revelry, the haggard band piled in their tour bus, inadvertently missed the overhead clearance warnings and ripped off the awning of the motel they stayed in.
"You don't need to mention the hotel's name" said vocalist and guitarist Keith Roberts with a chuckle. In nearly every write-up about the Young Dubliners, reviewers describe their music as "Rollicking." But being so cliché in its use to describe Irish folk music, especially any Irish music with roots in pubs and club-scapes, I'll spare you the droll adjective and opt for another, "rip-roaring." If that doesn't help much, then imagine a frenzied mosh-pit, a "jig-pit" in this case, set to the impassioned sounds of Irish folk-infused rock: Sweaty bodies linked at the elbow, skipping heartily around in time to a cacophony of violin, tin-whistle, piano, guitar and male vocal harmonies. The frenetic pace and wall-of-sound style of the Dubliners' music beckons loyal fans to match energies not only in the club but on the streets. This veteran quintet, which has toured with the likes of Jonny Lang and Jethro Tull, plays anywhere from 170 to 180 gigs a years. Their fervent legion of fans, garnered over a decade of performances at small, accessible pubs and bars, flyer and poster towns across the U.S. promoting the group's concerts and new releases. The band in turn reciprocates with constant fan communication and unrelenting live performances, including an upcoming excursion with 120 fan club members to Ireland. "We reply to every e-mail we get," Roberts says. If the Dubliners' grassroots approach to promotion isn't enough to get you juiced about their upcoming performance, their new album, Real World, will undoubtedly tip the scale. An amalgamation of sound resembling a battle of the bands between Big Country, the Pogues and contemporaries Flogging Molly, Real World reawakens and invigorates even the most jaded music fan with uptempo punk rhythms, traditional Celtic instrumentation and classic American rock guitar riffs. When Roberts says that with Real World, the Young Dubliners have finally created a sound that perfectly blends Irish folk music and American rock, he's right on.
Blues
Queen Boogies Into Shedd
My dictionary defines "boogie woogie" as a jazz piano style characterized by an ostinato bass. OK. Next entry. "Ostinato" means reiterating a phrase in the same pitch. The dictionary doesn't mention Del Rey, a big-boned, middle-aged gal with strawberry-blonde hair who has applied boogie woogie style to her guitar and become popular the world over for combining country blues, jazz, and hillbilly boogie. Del Rey will perform at The Shedd on Thursday, April 14 as part of OFAM's Shedd Casuals series. The next night the Blues Queen gives two workshops recommended for intermediate to advanced players: a fingerstyle ukulele workshop from 5:30 to 6:45 pm then boogie woogie guitar from 7:30 to 8:45 pm. Fingerstyle playing is a style that utilizes all five fingers in a way that lets rhythms become more complex than what traditional playing allows. Extreme ukulele, anyone? Del Rey began playing classical guitar at the tender age of 4. As a teenager, she met Sam Chatmon, a bluesman who inspired her to toss aside the classics and let her bluesy spirit emerge. Her playing comes from the heart, and much like her wild, trailer-park gypsy style of dressing, she does it in her own unique way. A lecturing expert on women in American music, Del Rey also performs ukulele with the Yes Yes Boys and collaborates frequently with guitarist Steve James. She has three solo albums, 1993's Boogie Mysterioso, 1995's Hot Sauce, and 2000's X-Rey Guitar. She has five other CD's available from collaborations with James, Yes Yes Boys and The Blues Gators. A first-rate blues performer and vocalist, she also entertains audiences with good stories, has a wicked sense of humor and plays a beautiful metal-bodied resonator guitar. Before the Thursday show, check out OFAMily-Style Meals, an ongoing offering of a reservation-only, set-menu meal served before each concert event.
eugene/spfd. AX BILLY GRILL & SPORTS BAR BEANERY All Ages BLACK FOREST CAFÉ PARADISO CLUB TSUNAMI COFFEE GROVE COOPERATIVE COUNTRY SIDE RESTAURANT COUNTRYSIDE
COZMIC PIZZA@THE STRAND All Ages DA HOUZE DOWNTOWN LOUNGE DUCK INN EUGENE WINE CELLARS GOOD TIMES JAXX LOUNGE @ PREMIUM POUR JO FEDERIGO'S JOE'S BAR & GRILLE JOGGER'S BAR & GRILL JOHN HENRY'S
THE JUNGLE THE KEG LAVELLE'S WINE BAR & BISTRO LONE STAR BAR & GRILL LUCKEY'S CLUB CIGAR LUNA MAC'S AT THE VET'S MCDONALD THEATRE All Ages MCSHANE'S BAR & GRILLE MONROE STREET CAFE All Ages THE O BAR & GRILL OREGANO'S GRILL OREGON ELECTRIC STATION OVERTIME GRILL PEABODY'S PERUGINO QUACKER'S RAMADA INN RED LION INN
SAM BOND'S GARAGE SAM'S PLACE SAMURAI DUCK SPIRITS STACY'S COVERED BRIDGE SWEETWATER'S TAYLOR'S BAR AND GRILL TINY TAVERN VET'S CLUB BALLROOM WETLANDS
WOW HALL All Ages
CORVALLIS AJ'S IOVINO'S RISTORANTE MURPHY'S PLATINUM NIGHT CLUB TOMMY'S PEACOCK
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