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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 19, 1997)
Courtesy photc BUIE MOUNTAIN was eae of the SXSW Music and Media Conference1! hl|hll|ht acts. COURTESY PHOTO LUUABY FOR THE WORKING CUSS performed at the Hele le the Wall deb te a fill heese darlag Aasthft SXSW Mafic aad Media Ceafereace. The Uacela-based haad alse garaered a recerdlag ceatract aad had a airfare ef them raa la Mondays edltlea of the New York Times. Music flows frauly at SXSW conference - 11 By Ann Stack Senior Reporter AUSTIN, Texas — With more than 600 bands performing at the 1997 SXSW Music and Media Conference, the city of Austin turned into a mecca for anyone even remotely associated with the music industry. During SXSW week — which started March 12 and ended Sunday — the beer flowed as freely as the schmooze, briskets blazed and ampli fiers were never left unplugged. And that was just during the daytime. At night, this quiet, friendly col lege town of 500,000 came alive with the hustle and bustle of the industry — record label execs, managers, me dia, fans and bands — lots of talented bands. All musical genres were featured, from swing to country to surf. There ... people were making too big of a deal. out of it. I think there’s a lot of hype to SXSW.” Mike Moos Lullaby for the Working Class were even some alternate showcases for those sick of the SXSW hype — “South By So What” and “South By Suck This.” Lincoln’s Lullaby For The Work ing Class packed ‘em in at The Hole In The Wall — literally. Even the band’s record label executives from Bar/None had to pay to get in — and they were the fortunate ones. The line stretched around the block. “It was fun to play the showcase and have that kind of recognition, and it was good exposure for us,” said Mike Mogis, a UNL senior business major and the band’s multi-instrumen talist. “But at the same time, people were making too big of a deal out of it. I think there’s a lot of hype to SXSW.” Please see SXSW on 13 Thousands bid rapper farewell By Tom Hays Associated Press NEW YORK — Laid out in a double-breasted white suit and match ing hat, The Notorious B.I.G. made his last trip Tuesday through the grimy Brooklyn streets where he wait from crack dealer to gangsta rap star. The rapper’s body was driven from a service on Manhattan’s well-to-do Upper East Side to his Bedford Stuyvesant neighborhood, where thou sands lined the streets to watch the procession of limousines and salute the man bom Christopher Wallace. Wallace, 24, was killed March 9 in a drive-by shooting in Los Angeles as he left a party celebrating the Soul TYain Music Awards. Wallace, whose 230-pound, 6-foot frame also earned him the nickname Biggie Smalls, had told of selling crack an the streets before releasing his debut album, “Ready to Die.” The crowd cheered wildly as the funeral cortege passed. It was led by a hearse bearing the rapper — a father of two — and two black Cadillacs filled with flowers. “To Daddy,” read the yellow ribbon around one arrange ment. Once the motorcade passed, there were several skirmishes between po lice and the crowd, and pepper spray was used to disperse the group. Six people— including a reporter for The New York limes—were arrested on disorderly conduct charges, and a half dozen officers suffered minor injuries, police said. 1 Same of rap's best-known names attended Wallace's funeral, including Dr. Dre, Flavor Flav of Public Enemy, Treach of Naughty by Nature, Spinderella and Pepa of Salt-N-Pepa, Queen Latifah and R&B diva Mary J. Blige, who left the service weeping and supported by other mourners. No one has been charged in the slaying. Some reports have suggested it was part of an East Coast-West Coast rapper rivalry, while the Los Angeles limes reported Tuesday that a gang member in a financial dispute with Wallace had emerged as the prime suspect. The limes also reported there was no connection found to the slaying of rival rapper Tupac Shakur, who was gunned down in a drive-by shooting Sept. 7 in Las .Vegas. No one has been arrested in that killing, either. Wallace’s estranged wife, Faith Evans< sang at the funeral service, while Sean “Puffy” Combs—the head of Wallace’s record company, Bad Boy Entertainment — delivered a eulogy. “It was a peaceful event,” said mourner Juanita Preudhomme, an old family friend. “It wasn’t all sorrow. Everybody was hugging and kissing, just like Biggie would have wanted.” Old friends were among those mourning in Brooklyn as well, as the procession wound past graffiti and boarded-up buildings—including one with posters promoting the rapper’s latest album, due out next week. Fans lined the block where Wallace once lived, leaving candles, pictures, empty malt liquor bottles said a copy of “Ready to Die” at a makeshift shrine. On top of a parked car, three chil dren held a sign. “We love you B.I.G.,” it read. “Stop the violence. From future stars of tomorrow.” Sheryl Crow, Dishwalla intoxicate Omaha crowd By Chris Thomas Music Critic This Monday, for most, was St. Patrick’s Day. But for a sold-out Orpheum crowd, it was a three hour bar crawl with Sheryl Crow and Dishwalla. From Crow’s see-through green shirt to J.R. Richards’ on-stage drinking to a full-blown leprechaun in the fourth row, everyone was in the spirit. Just four minutes after the show’s announced start-up time, Dishwalla took stage to a theater full of screaming fans. Cracking open its current single “Charlie Brown’s Parents,” it drowned the St. Patrick’s crowd with the intoxi cation of music. Lead singer J.R. Richards ser enaded the female population of the Orpheum while guitarist Rodney Browning pounded out his power chords with flawless accuracy. The performance was charged, yet straight-laced, with little deviation and improvisation. This style, which is fairly typical for Dishwalla, fit perfectly into the ambiance of the Orpheum Theater. Dishwalla’s shortened seven song set included the expected “Counting Blue Cars,” a new song and its next single “Haze.” Enjoy ing a cold Killian’s Red, Richards admitted he rarely drinks when he sings — but St. Patrick’s Day tra dition couldn’t be denied. Closing with “Moisture,” a hard-hitting cut off its album “Pet Your Friends,” Dishwalla had nicely contrasted the folk-rock anthems to crane. Draining her trademark acous tic guitar, and backed by five name less-but-talented musicians, Crow lit up the hall as she walked on stage. The theater came alive as she Please see CROW on 13
