Far from poor

The debut album from Poverty

By Sonya Tomlinson

OFF THE ROLLS: Poverty (a.k.a. Tommy Ferris) ranges from melodic to heavy underground.

When one thinks of skilled turntablism, captivating beats, and hypnotizing rhymes, Portland doesn’t exactly spring to mind. However, in the past year, breakthrough local artists have been proving this a misconception. From established deejays and solo artists to new collaborations, hip-hop has clearly become an element of Portland’s musical landscape. On Wednesday, May 30 The Big Easy will play host to the newest efforts in a full-length hip-hop solo album, with a record release party acknowledging the emergence of Tommy Ferris, a.k.a. Poverty.

Poverty made his debut in the summer of 1999, invited to the stage by DJs Moshe and Nicotine during Zootz’s Urban Roots night. From there, he would move on to become a regular performer at Stonecoast’s now-defunct hip-hop open-mic night. Poverty joined forces with other recurring lyricists for the year that the popular night existed. An alliance of these same Stonecoast rhymers performed in September of 2000 as the Rewindables in a one-shot deal. Included in this group were Chip Sullivan (a.k.a. Navillus, of kNOw complex, yeah, my band) and Dave Gutter of Rustic Overtones. Both would later play a crucial role in the foundation of Poverty’s album.

Not your stereotypical rapper, with strawberry blonde hair, raspy voice, thick Massachusetts accent, and an abundance of energy, it becomes difficult not to notice Poverty. His style may come off somewhat abrasive. He’s certainly not afraid to expose the hardships of his life with an added touch of vulgarity or an opinionated viewpoint. Whether or not you appreciate his word choice, however, his presence and delivery demand your attention, and that is just what he did with Navillus and Gutter.

Gutter had been working on expanding his interests in hip-hop by creating original beats as Paranoid Productions. When he unexpectedly ran into Poverty at a homeless shelter this winter, he suggested that they collaborate and make a track together. Thus began Superhuman, the album. “He has a drive to make it,” says Gutter. “In his head he lives in another reality where he has already succeeded. He has confidence and gusto, which is good for someone in hip-hop because it’s such an overflowed market you have to set yourself apart. His attitude is his strength.”

Of the 15 tracks, Gutter created and produced 11. His original intention was to complete a four-track demo to shop to labels, but later decided to complete the entire album.

Along with executive producer and manager Navillus, Gutter and Poverty established Trifecta Records (not to be confused with Trifecta Records out of Iowa). They wanted to create a label that could accommodate local hip-hop artists, believing the Portland hip-hop influx had created sufficient demand — Poverty’s album will be their first release. Showing his commitment to those who recognized and encouraged his talents, Poverty signed a nine-year contract with Navillius’s Loophole Management.

“I feel it’s my duty to Poverty to look after his best interests,” says Navillus. “It’s a big responsibility with his career in my hands.” Navillus not only serves as executive producer of the album, special guest lyricist, and Poverty’s manager, but he creates beats as well. He contributes one original track, and pools resources with Gutter on three others. After observing Poverty perform prior to working with him on a solo basis, Navillus saw that his commitment to music overpowered everything in his life. It became obvious that he took his passion seriously. “He has a kick-ass work ethic and high energy. He is easy to work with because he has total control over his lyrics,” says Navillus. “I feel privileged to be a part of the album.”

Superhuman is a sixteen-track extravaganza that ranges from melodic to heavy underground, with an overall sarcastic tone. According to the artist, “It’s a compilation of songs that define what it’s been like being homeless in Portland for the last six years.” From staying in shelters to couch surfing, he has kept motivated by realizing music keeps both spirit and community alive. “A lot of kids go through bad experiences,” Poverty says, “whether it be homelessness, verbal abuse, physical abuse, or they drop out of school. But when they get an attitude like, ‘I’m a bad ass because I’ve had to suffer through the worst life of anyone,’ they start thinking they’re superhuman.” Hence the title track, “Superhuman,” carrying a raw, low-fi beat that inevitably makes your head nod during the hook: “What’s superhuman to you is second nature to me.”

Just when you thought the infiltration of bad mainstream hip-hop had turned all rhymers onto materialistic subject matter, Poverty strays from, even pokes fun at, those in the music industry who glorify the superficial. “Hip-hop has changed to become about bragging, boasting, and how much money you can accumulate,” he says. This obsession with greed and glamour becomes the theme of the track, “Hip-Hop These Days,” a refreshing analysis of the true origins and values of hip-hop, and the turn of events that brought it to its current state.

Now it’s Portland’s turn to determine whether or not Poverty, is, in fact, superhuman. If you missed him as the opening act for Wu-Tang Clan member Cappadonna at the State Theater earlier this month, you can catch him at the Big Easy Wednesday, May 30.

Sonya Tomlinson can be reached at stomlinson@phx.com.