Local heroes: Vegas musicians discuss their homegrown influences
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Curl Up And Die
By Mike Roeslein, Caravels
When we first began Caravels, we modeled ourselves after them, we wanted to duplicate their success and we knew that if they had done it that it was feasible. They had laid out a blueprint for us and every band belonging to Las Vegas, and we owe them an incredible debt for demonstrating to us the amount we could achieve with our music. They very quickly and very decidedly grew from a local band into a national band, and I carried a certain pride when it came to them. I had a team to root for, and it was a great thing for me at that age.
By Coco Jenkins, Rhyme N Rhythm
The Chapter Crew’s legacy in Vegas hip-hop is undeniable. The BlackBook Sessions (established by them and other notable local hip-hop artists) was the event to be seen and heard at because what emcee wouldn’t want to perform with a live band? A lot of artists got their start at BBS. I personally was never able to see them there because BBS was 21-and-over and I could never sneak in! But I was always on a mission to go to a Chapter show. One of RNR’s earlier shows was with The Chapter, and it was such an honor to share the stage with them. They really set the bar for us, musically and lyrically.
AWOL, Self Abuse, Subterfuge
By Dirk Vermin, The Vermin
I was a kid, they were the local boys. We looked up to them. We viewed them as what we wanted to be. We were just two years younger, but that’s who we opened for later in life and became good friends with before Todd [Samson] passed. But I’d known Todd for 30 years. And MIA to a lesser extent. When they left the city and became an [Orange County] band, some of us felt a little betrayed. But that was the consensus then, MIA wasn’t a Vegas band any more. AWOL, Self Abuse and Subterfuge kind of were the top three I would say for the early ’80s. MAX PLENKE