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Music

Bone up on the ’90s

Bone Thugs-N-Harmony (from left) Layzie Bone, Krayzie Bone, Wish Bone, Flesh-n-Bone and Bizzy Bone
Bone Thugs-N-Harmony (from left) Layzie Bone, Krayzie Bone, Wish Bone, Flesh-n-Bone and Bizzy Bone

Seminal Cleveland hip-hop quintet Bone Thugs-N-Harmony have reunited for one final hurrah. The group’s Rock the Bells tour hits Burque on Thursday, Dec. 13, but you might want to study up on Bone Thugs prior to the show. Read all about them in East 99 Meets Burque. Divine harmonies coalescing with crunk melodies and phat beats are the act’s trademark. You’ll want to sing along, right? Refresh your memory with Bone Thugs music videos below. Sunshine Theater • Bone Thugs-N-Harmony • Thu Dec 13 • 8 pm • $27.50 • ALL-AGES! • sunshinetheaterlive.com

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Bone Thugs-N-Harmony - “Tha Crossroads”
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Bone Thugs-N-Harmony - “Thuggish Ruggish Bone”
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Bone Thugs-N-Harmony feat. Eazy-E - “Foe tha Love of $”
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Bone Thugs-N-Harmony - “1st of tha Month”

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News

The Daily Word in BP, poorest president and Pong

BP's looking at a $4.5 billion fine and criminal charges against staff members.

The gap between rich and poor in New Mexico is the widest in the nation.

Pit bull terriers killed a Chihuahua and sent her owner to the hospital.

Debbie O'Malley might remain on the Council and take a seat on the County Commission.

Remember when 48 women training for the military said they'd been sexually assaulted or harassed by their instructors? The Air Force has a weird solution: Trainees must have a wingman all the time.

Nonstop flights from Albuquerque to New York.

FBI investigates death threats against the guy holding the coyote-killing contest in Los Lunas.

The poorest president in the world. "If you don't have many possessions, then you don't need to work all your life like a slave to sustain them."

Violence escalates in Gaza and Israel. Rockets kill 15 Palestinians and three Israelis.

Louisiana governor is the first Republican to denounce Mitt Romney's notion that he lost the election because President Obama gave gifts to minorities and youth.

5-Hour Energy shot-like drink blamed for 13 deaths.

Colorado Visitors Bureau plans NOT to capitalize on legal recreational marijuana.

Science looks at rappers' brains to find the basis of improvisation.

Pong is 40-years-old and no one has topped it, says this guy.

How to become as observant as Sherlock Holmes. (Also, "Sherlock," the BBC miniseries available on Netflix instawatch, is dope.)

V.21 No.37 | 9/13/2012

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Flyer on the Wall

Flat Top Art

I can’t think of better imagery to represent DJ Wae Fonkey’s ‘80s disco / funk / R & B / hip-hop-based night. Bust a move with the fresh DJ and dancer on Friday, Sept. 14, starting at 10 p.m. at Blackbird Buvette (509 Central NW). (JCC)

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Music

MC Lakota Jonez live at Gathering of Nations tonight!

Eric Williams ericwphoto.com

This week's feature story star has undeniable writing and performance chops. Interviewing MC Lakota Jonez was a chief example of one of journalism's many pleasures: A conversation ostensibly about one topic (a woman and her music) wades into deeper waters, and an array of other issues—in this instance, racism, gender dynamics, and the evolution of the artistic and cultural movement that is hip-hop, to name a few.

Tonight presents a special occasion to watch Jonez strut her stuff en vivo, amidst a crowd of already loyal fans. In just a matter of hours, she takes the stage at Stage 49 at the UNM Arena (“The Pit”) for the Gathering of Nations’ multigenre showcase, 7:45 p.m. (On the dot!) $17 general admission at the door not only gets you access to her show, but to all the evening's varied powwow happenings. For more information, check out the Gathering of Nations website and the site of the artist herself.

V.21 No.17 | 4/26/2012
Eric Williams ericwphoto.com

Feature

MC Lakota Jonez Raps on Hip-Hop’s Glass Ceiling

While she grew up listening to all kinds of music, Lakota Jonez says hip-hop always gripped her more than any other genre. “Probably because I have so much to say. With all other types of music, the songs have, like, eight bars,” she says. “With hip-hop, there are 16 bars, so I can say a lot in one song.” Jonez is of Mohawk, Lakota and Cherokee descent, and she’s from a politically active family. She says her ancestry and upbringing infuse her work—but perhaps not overtly.

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V.21 No.15 | 4/12/2012

[click to enlarge]

Flyer on the Wall

Poets Vs. MCs

Young folks who have a way with words can have their way with the mic on Saturday, April 14, at Warehouse 508 (508 First Street NW). Admission to witness this lyrical competition is $5, or $8 for two, while it’s $10 to get into the battle. Winners earn a $300 cash prize. Festivities commence at 5 p.m. Call 410-2938 for more info. (Jessica Cassyle Carr)

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Music

Jamalski gets live tonight

Photo courtesy of Jamalski

MC Jamalski is spending some time in New Mexico and performs at Moonlight Lounge tonight. Read Geoffrey Plant’s interview with him here.

V.21 No.9 | 3/1/2012
Photo courtesy of Jamalski

Spotlight

Jamalski

Joyful Altruistic Metaphysical Ageless Lover Seeks Knowledge Internally

Jamalski is an internationally known MC who helped pioneer the reggae/hip-hop crossover genre both as a member of the Boogie Down Productions crew and as a prolific solo artist with hits such as “Jump, Spread Out.” His accomplished beats cover the gamut of hip-hop and dance styles. As long as it’s an underground scene, Jamalski’s into it. After spending most of the past decade living and playing in Europe, last year Jamalski moved his headquarters back to his hometown, New York City, and has adopted Albuquerque as his secondary base of U.S. operations. The Alibi spoke with him over the phone.

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Music

Qwazaar at Burt’s tonight

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“I Know” off the Bat Meets Blaine album

Qwazaar is one-third of Typical Cats—arguably the dopest hip-hop trio ever to rep the Windy City. He just put out an album with DJ/producer Batsauce, and they’re playing tonight at Burt’s Tiki Lounge (313 Gold SW). For free. Above is a video the duo released. Below is an old favorite to give you some classic Qwa flavor. The show starts at 9 p.m. Lady Daisy, Jungle and Audiyo open.

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V.20 No.37 | 9/15/2011
Left to right: Flux 451, Dahhm Life, Wake Self and Audiyo
Wes Naman

Spotlight

Hip-Hop Menagerie

Zoology crushes it with debut album

The 11 tracks on Zoology’s debut Krush Love buzz with electricity, but the musicians keep the energy tightly controlled, unspooling it meticulously. It’s tense. In a good way. The lyrics are clever and the rapping is precise, with multiple voices flowing smoothly around each other. Under the beats—involuntarily head-nod-inducing ones—melodies conjure hints of soul and jazz.

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V.20 No.36 | 9/8/2011
Scarub
Sam Adams

Scene and Heard

Lyricists’ Lounge

L.A. rapper Scarub and Chicago’s Robust headlined an iteration of the Vinyl & Verses series at Burt's Tiki Lounge on Wednesday, Aug. 31—see the show in photos.

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Music

Super dope free hip-hop show tomorrow

Galapagos4 invades Burque

Robust
Robust

The Chicago underground hip-hop scene hit a high point in the early 2000s, largely due to indie label Galapagos4 and its flagship group, Typical Cats. Also on the rise at the time was rapper Robust, whose collaborations with members of the Cats and other G4 artists quickly made him an undergound mainstay. His propensity for complex wordplay and maze-like rhyme scheme was exhibited full force on his 2004 album, Potholes In Our Molecules. Robust plays at Burt’s Tiki Lounge Wednesday night. Also on the bill are Scarub of Living Legends and Mane Rock. The free show begins at 9 p.m. and is 21+.

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Music

Atmosphere’s Slug on domestic violence lyrics and songs he doesn’t play live

Slug and DJ/Producer Ant of Atmosphere
Slug and DJ/Producer Ant of Atmosphere

In this week’s music section we ran a Q & A with emcee Slug (aka Sean Daley), who has been recording his brand of emotionally-charged indie rap for more than twenty years. The Minneapolis rapper, who plays at the Albuquerque Convention Center tonight, spoke about the death of a teenager at one of his Albuquerque shows in 2003. He also spoke about the disappearance of his muse “Lucy Ford” and the death of his close friend and label mate, Eyedea. Here are some parts of that interview, as promised, that didn’t make it to print.

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On The Family Sign, what inspired you to write a song about domestic violence ("The Last to Say?")?

Initially the track that Ant gave me. It's almost as if I've been waiting a long time to finally write that song. And when he gave me that music it just clicked with me and was like, Yep, it's just time to sit down and write this song. The big picture was, I had been so far removed from any of those types of situations. As a kid I was closer to domestic violence. And as an adult, I'm so far removed from it that I kind of had to come up with an angle to take ... I just didn't want to rely on my memory. And so I had to come up with an angle that I could take that was almost like an outsider looking in, even though I do have my own personal experiences with it.

How would you differentiate that song from "Primer," which was written earlier in your career and deals with the same subject?

It's me talking, whereas ["Primer"] was a character. You know, I wasn't as good at articulating myself when I was younger so I think what went over a lot of my fans' heads was that the song was written almost in satire. It was written from the perspective of making fun of the guy. Some of those one-liners are so obviously out there that it was almost like exaggerating, like, "You asshole." ... Almost like it could be two women sitting around and making fun of the guy by mocking him and imitating him and whatnot. Not that I'm suggesting that's necessarily what it is—I don't know what the fuck I was thinking. I just knew that I was thinking I wasn't writing such a negative song. When I made it I thought it would be a little more obvious that the actual crux of the song was coming from a place of ridiculing guys that act like that. ...

But I guess I quit performing it because when I would see the audience respond to it it was obvious that these teenagers were not getting that. They just were responding to raw aggression and the asshole nature of the song. It just seemed really awkward.

Speaking of songs you don't play live, why don't you play songs like " That Night" (about the Sunshine killing) or " The River," (about a best friend's death) both of which deal with these very painful losses?

"The River," I felt like that song was ... [pause.] I could probably play that live again. I just had a bad experience playing that live one night. I broke down and cried one night and that wasn't tight. It just made me feel very vulnerable in a way that I wasn't too comfortable with so I just kind of backed off of that.

"That Night"—it's a weird song for me. It's like, even in the writing of it I didn't want to be exploiting somebody else's tragedy to make a song that people would love. I wanted to be cautious about that. So I wrote it, and tried to make sure I wrote it obviously from my perspective and from how I felt, but I just don't know how I would feel seeing a bunch of people in an audience respond to that song. I'm afraid of how that might affect me. And so I kind of stay away from that. And that points to a song like "Yesterday," which is about my father passing away, which is a very personal thing for me and that's something that I guess is my place to speak on. It is my place to vent that. It is my place to project that. And so I guess that's the difference there.

In terms of connecting to the audience, wouldn't there be no better place than Albuquerque to play that song?

Maybe not—because at the end of the day it's still going to be a matter of how the crowd responds to it. ... I'm afraid of how I might be forced to respond to their response.

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V.20 No.34 | 8/25/2011
Slug
Dan Monick

Spotlight

The Man With the Tattooed Past

Atmosphere’s Slug on life after death

Minneapolis rapper Slug (aka Sean Daley) has been at the forefront of underground rap so long it's hard for hip-hop heads to remember when Atmosphere wasn't a household name. Backed by DJ and producer Ant, Slug created a revolution of emotionally raw lyricism wherein his unbridled ego—and the defense mechanisms and underpinnings that created it—were ever-present. More than 20 years down the road, his discography is as much the soundtrack of a generation and subculture as it is a catalogue of desperate but defiant barstool poetry. In advance of a show at the Albuquerque Convention Center, Slug spoke with the Alibi.

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