Xavier Herald - Page 10
The Herald is written and edited by students of Xavier University. The views expressed do not necessarily represent those of the university or university policies. Unsigned editorials are the opinions of the editorial board. Member: Associated Collegiate Press and Cass Advertising. Keara Ketchum, E...
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Xavier University of Louisiana
1998
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Xavier Herald - Page 10 |
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Xavier Herald - Page 10 |
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Xavier Herald - Page 10 |
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The Herald is written and edited by students of Xavier University. The views expressed do not necessarily represent those of the university or university policies. Unsigned editorials are the opinions of the editorial board.
Member: Associated Collegiate Press and Cass Advertising.
Keara Ketchum, Editor-in-Chief; Tiffany Bennett, Managing Editor; James Williams, Entertainment Editor; Bernard McGhee, Editorial Editor; Chari Patterson, Living Editor; Tammicka Logan, Sports Editor; Kemba Bowles, Photo Editor.
Photographers: Stephanie Joseph, Janelle Perrilliat.
Columnists: Yvette Green, Lamont Yarrell.
Staff Reporters: TaKeshia Brooks, Eryn Casey, Shikira Coleman, Shana Daniels, Malcolm Davie, Ayana Gardhigh, Tagwana Holmes, Ernest Lewis III, LaToya Jenkins, Chandra Kerley, Leanna Redmond, Lauren Snow, Sherice Shields, Gregory Stringer, Kamilah Turner, Terry Wand.
Circulation Manager: Dave Doell
Faculty Advisers: Fred Bales
Technical Support: Arnold Crump, Chris Campbell |
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Xavier University of Louisiana |
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1998 |
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http://cdm16948.contentdm.oclc.org/cdm/ref/collection/p16948coll14/id/5224 |
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xuloai_p16948coll14-5224 Xavier Herald - Page 10 73 No. 9 1998-03-05 Xavier University of Louisiana The Herald is written and edited by students of Xavier University. The views expressed do not necessarily represent those of the university or university policies. Unsigned editorials are the opinions of the editorial board. Member: Associated Collegiate Press and Cass Advertising. Keara Ketchum, Editor-in-Chief; Tiffany Bennett, Managing Editor; James Williams, Entertainment Editor; Bernard McGhee, Editorial Editor; Chari Patterson, Living Editor; Tammicka Logan, Sports Editor; Kemba Bowles, Photo Editor. Photographers: Stephanie Joseph, Janelle Perrilliat. Columnists: Yvette Green, Lamont Yarrell. Staff Reporters: TaKeshia Brooks, Eryn Casey, Shikira Coleman, Shana Daniels, Malcolm Davie, Ayana Gardhigh, Tagwana Holmes, Ernest Lewis III, LaToya Jenkins, Chandra Kerley, Leanna Redmond, Lauren Snow, Sherice Shields, Gregory Stringer, Kamilah Turner, Terry Wand. Circulation Manager: Dave Doell Faculty Advisers: Fred Bales Technical Support: Arnold Crump, Chris Campbell African American college students; African American newspapers; African American universities and colleges; College student newspapers and periodicals; Student publications; Xavier University of Louisiana Text PDF XH_1998_03_05_010 Xavier University of Louisiana English Physical rights are retained by Xavier University of Louisiana. Copyright is in accordance with U.S. copyright laws archives@xula.edu De La Soul and the Roots performing at the Contemporary Arts Center. Coolbone also performed that night, giving the crowd a taste of what they call "brass-hop." The Executioners are turning the tables at the House of Blues. The Executioners opened the show for Common that night. Page 10 XAVIER HERALD March 5, 1998 Mardi Gras gets some good ole East Coast nava by Chari Pattterson Living Editor I remember the day a friend casually mentioned the De La Soul and the Roots concert. "What? They're coming here?" I was a bit hysterical, but these are two of my favorite hip-hop groups. "Yeah, they're gonna be at the Contemporary Arts Center on Feb. 22 are you going?" "Yeah, I'm going," I replied enthusiastically, secretly wondering where I was gonna get $23 from, but I managed. The day of the concert came and I was on my way to the Contemporary Arts Center, and just in time for it was beginning to become crowded. After the sound check, Coolbone came on and opened the show. Coolbone is an attempt to unite brassy jazz with rap. The crowd was looked on as the musicians switched between rap lyrics and trumpets. They even played one of my favorite songs "Use Me," by Bill Withers. Coolbone's funky rendition of the song was tight. The group did their thing for a good hour, and then we waited as the stage crew set up another little mike check. Finally, Maceo from De la Soul warmed up the stage as he spun all kind of hip-hop tracks. We jammed, but everyone was waiting for Pos and Dove to take control.When they did come on stage they rocked the house with old jams, as well as new. Pos and Dove both took sides by splitting the audience in half and having them repeat chants after them. (I was on Pos' side, by far the KRUNKEST side, hands down!) De La performed for about two hours. The audience performed right along with them; shouting along with them as they did their lyrical best to keep everyone hype. There is something magi-cal about seeing your favorite group per-form all your favorite songs in live concert. What was most enjoyable was the De La Soul crowd participation. Dove gave Dawn the mike and let her rap a few bars, and everybody's arms were out-stretched for, "Pony-ride." Black Thought, of the The Roots even rapped a verse or two as he watched on below the stage. And that was just the beginning. After Dove and Pos left the stage, Maceo hung around. He kept the crowd on their toes with his deejay genius. He spun for a good 20-25 minutes and then he was up. The stage crew came to rearrange a few things, and do another sound check. The crowd stood talked, leaned, some people kneeled, and even sat down. I was tired, but I was also eager to see my all time favorite hip-hop artists, The Roots. Brother Question came on stage bearing an afro the size of a small state. Black Thought stirred it up, and the crowd was suddenly re-energized. This perfor-mance was extra tight because we were dealing with a live band. Kamal had the keys and the guitar; Hub was on the bass- Question was Dr. Percussion, Rahzel, the Godfather of Noize, needed only his mouth, and Black Thought had the mike. At some point during the show every-one had a solo. Question cut up! Do you hear me? He was bad y'all. His drums told a story of his temperament, and he was buck wild! I am biased towards bass play-ers, so I could go on and on about Hub. He was laid back, chillin', with that stick that he always got in his mouth. He was doing thangs with that electric bass. Kamal really didn't even have to play. He was making it happen for me just standing there. But he gave the crowd some of his funky stuff, and we internalized his KRUNKNESS and flowed right along with him. Now, Rahzel. Rahzel is a special case. He had the original instrument, the one instrument that all others try to imitate, his mouth. This brother here, got the mike, and dee-jayed for us (this does include mixing and scratching) only using his mouth! And on top of that he performed the lyrics, the beat and the chorus of one song, by himself, at the SAME time. Can you beat that? It was worth $23 just to go see him do that. What they should have done is had a battle between Maceo and Rahzel, that would have been tight! At this point I was totally satisfied, but somewhere the time had escaped, be-cause all of a sudden it was 3: 00 a. m. Have you ever been to a concert that lasted six hours? You should go, but only once. It took me three days to recover. Common, from page nine corridor filled with the Executioners and friends, we made it to the door of the room where Common was. I had been in this room many times before, each time a different performer. I often wonder about all the talent that has been in this room over the years. Tonight though, it was Common. He had a towel wrapped around his neck, and was sipping on some tea. He was hoarse, and I imagined that wrapping continually all night didn't exactly help. Yet, he still managed to do this interview with me, and Iam grateful. Finally, the interview began. Q: What is it like being on stage? A: It is heaven if the sound is right. Heaven if the crowd is feeling what you're feeling. Being on stage is the realest part of being an artist cause you can't be phony, there ain't no veil there to cover you up. You learn a lot doing live perfor-mances. You can hear your own sound with a live band. But it's tough keeping all the energy up. The people you are perform-ing for don't know you just came in from another city doing the same concert. But you still have to put on a show. Q: What is it like being in the studio? A: It is tedious work. It's hard cause you gotta be saying the same stuff over and over again. Q: Are you a perfectionist? A: Yes, I try to get things right. Q: Do you ever get nervous? A: Yeah, right before I go on stage, but then once I get there it feels great. Q: How important is the crowd? A: It's important because you get energy off them. Their response makes you feel a bit better or if they ain't responding you react to that as well. I key into getting the crowd into the music. Q: You mentioned revolution, how are you making a change? A: Changing self. There are things I need to work on. I ain't got perfect but I'm working on it, and I am trying to get to a point where actions are fully loaded with what I speak. I am striving to do right. Common Sense is trying to grow. I love music, and I focus on Supreme. Q: Where did you meet your band? A: I met the drummer and the pianist at a jazz club where Roy Hargrove was playing and they introduced me to them. Q: Who do you listen to? A: Stevie Wonder, Slum Village, Tribe Called Quest, De La Soul, some Biggie, and The Roots. "The release party was tight," said one of Common's entourage. "Yeah" replied Common. "It was live cause everybody that performed on the album was there (except Erykah Badu who was in Brazil at the time), and each of them performed one of their own song.Cee-lo, De La Soul, Cannibus, Shantay Savage were all there it was nice," said Common. "Well there's one other thing," I said. "Yeah, sure what?" replied Common. "Can I get your autograph?" Everyone in the room laughed. Don't front. I'm keepin' it real. "Sure," Common smiled. After my whole crew got there autographs, we took a few pictures and left. On the way down the street, we were all reminiscing about how tight the Execu-tioners were, playing around like we could scratch. We were remarking on how laid back and cool Common was and about how many people we saw there. It was an evening to go down in history. Man, I hope you were there. Busta, from page nine album were, "Case of the PTA," where he first made his infamous "rarrrhhh, rarrrhhh" dungeon dragon growl. He also entertained the crowd with numerous verses from his cameo vocals off such songs as: Tribe Called Quest's "Scenario", Craig Mack' s "Flava in Ya Ear (remix)", and "Rumble in the Jungle," not to forget numerous songs off his last album "The Coming," such as "Woo-Hah, Got You All In Check". "I hope that New Orleans will welcome Busta again", said Michael Webster, who also attended the concert, "but hopefully the next time for a longer amount of time, and in a bigger establishment." When the concert reached a point when there was approximately 15 more minutes of performing, a few young men began brawling within the tightly packed crowd. Busta attempted to handle the fight in his own manner, by giving a 30-second or so sermon on disrespect, and leading the crowd in a chant of "Get the Fuck out." And they did get out, with the help of the H.O.B. security, of course. Overall, Busta's concert was an evening of hip-hop madness and expertise, but unfortunately the crowd was utterly disappointed when Busta made his exit from the stage after a little more than an hour of performing. With the exception of a couple of typical big crowd brawls, alongside perspiration and scorching body heat from a massive crowd, the concert was positively "crunk". http://cdm16948.contentdm.oclc.org/cdm/ref/collection/p16948coll14/id/5224 |