The Music Man

Beatboxer Yuri Lane sets the San Francisco story to music, using the only equipment he needs: his mouth

Yuri Lane is onstage at Spanganga in the Mission, and he's not alone. There's Jojo the break dancer, Mike the bike messenger, MC Pissed and DJ Wicked, Gerard the aerobics instructor, a party girl called Tiffany, and a homeless harmonica player named Leopold. There's also a bus, a Muni train, some hookers, the inner workings of a video game, and a whole bunch of tourists. Even though the stage is tiny, there's still plenty of room for Lane and his environs, for the simple reason that he's the sole person actually up there. Every Saturday, as part of his one-man musical Soundtrack City, Lane re-creates a whole world, full of multiple characters and the city around them. The only equipment he uses -- save for some slide projections -- is his mouth.

Lane is a beatboxer, aka a vocal percussionist, dubbed in hip hop circles the "fifth element" (the other four being MCs, DJs, break dancers, and graffiti artists). Beatboxers first gained renown in the early '80s, when people like Doug E. Fresh, Buffy of the Fat Boys, and Biz Markie faithfully re-created the sounds of drum machine beats, scratched records, and wailing guitars with just a microphone and a mouth. Now, with Soundtrack City, Lane takes beatboxing a step further, using his verbal gymnastics and acting skills to bring out the inner soundtracks of his native city.


Yuri Lane, 30, first discovered hip hop by listening to KPOO-FM (89.5) when he was in grade school. He and a friend would engage in break dancing battles to Egyptian Lover's theme song for hours. (At one point, Lane put "Egyptian Lover" on his home answering machine, thoroughly confusing callers looking for his painter father or violinist mother.)

Lisa Corvis

Details

Saturdays at 8 p.m.

Tickets are $5-10

821-1102

www.yurilane.com

Spanganga, 3376 19th St. (at Mission), S.F.

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"Beatboxing sort of came naturally to me," Lane says during an interview at his Western Addition flat, "with having heard hip hop and made sound effects with G.I. Joe and Army figures as a kid." He knew he was truly onto something when he began beatboxing in a sixth-grade math class and his teacher told him to turn off the radio.

By 12, he'd also picked up the acting bug. While attending the School of the Arts at McAteer High, he performed in plays at the Berkeley Rep and the American Conservatory Theater. His career didn't exactly take off, but he did nab a small part in a Jim Belushi exploitation pic called The Principal and just missed getting the lead in the TV show Doogie Howser, M.D.Although he continued to beatbox with friends, it wasn't until he graduated from college at the Pacific Conservatory for the Performing Arts in Santa Maria and moved back to the Bay Area in 1992 that he began to see sound-sculpting as a vocation.

"I was in rehearsal in this play five years ago and I wasn't in a scene," Lane recalls. "I was just beatboxing, and I started moving and started thinking, "Wait a second, there's something to this. I can beatbox and act at the same time.'"

Lane began doing small bits in bars, cabarets, and nightclubs, but didn't set his mind to a whole show until he got a full-time job teaching drama at S.F.'s Brandeis Hillel Day School. "I was living the life of a gofer, doing auditions and catering, until a year and a half ago, when I decided I hadto put the show out."

With the help of his wife, Rachel Havrelock, Lane scripted the rest of Soundtrack City, based on the concept of "a journey through San Francisco using different modes of transit." The play begins on Haight Street with the amiable Jojo (an ode to Lane's best friend, who was killed during a carjacking on Potrero Hill in 1996) break dancing with his homies, then doing some graffiti tagging and being chased by a cop. Jojo escapes via the bus, which leads to Chris, who's on his way to a gym. After some "Step Move Push" aerobics with Gerard, Chris heads downtown via Muni, where we meet Leopold, blowing on his harmonica, and clubber Tiffany. The latter soon goes to a party, where she gives Ecstasy to tough guy MC Pissed.

The second act follows Mike the bike messenger through the Mission to the Financial District, where he passes Silver Man doing his shtick for some tourists. Mike drops off a package at a quickly failing dot-com, where Freddie plays Tetragrammaton, a video game in which "all your violent fantasies come true." After being downsized by the game, Freddie heads off to Starbucks, where he runs into Tiffany and MC Pissed -- who, thanks to the E, is considering changing his name.

Lane links all these characters with the sounds of the city, capturing everything from the dinging bell of a Muni car to the spray of pressurized paint to the slurp of steaming milk. He also litters the play with musical references that comment on or connect with the actions of the people involved. When Mike takes off on his bike, he sings along to Black Sabbath's "Iron Man," changing the words to suit his profession. As Chris steps onto a train, Lane slides into Grandmaster Flash & the Furious Five's "White Lines," now "Muni Lines." A TV emits a hip-hopped version of the theme to The Godfather, a cab blares a bhangra beat, and kids throw dice to the tune of the soul classic "Money." But Lane really shines when he enters a party and plays MC Wicked, scratching and cutting and mixing all kinds of dance music. Close your eyes, and you'd swear you were in a club. (Lane says that sometimes when he performs, people come up close, trying to see where he's hidden the speakers.)

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