June 2019 Page 7
Cyndi Hubb
Artist captivates audience in Shanghai concert
By Michael P. Jones
Flutist extraordinaire, Cyndi Hubb, who hails from Portland, Ore., reeks of talent that she wasnt just born with, but works extremely hard to maintain. On top of this, she is a music historian, a historical re-enactor, and a tour guide in the Shanghai Tunnels. Hubbs musical background in- cludes piano and saxophone. But, it is when she picks up a piccolo, a hand- made Native American flute, a penny whistle, or anything close to these instruments, that she has that unique ability to captivate her audiences. The Shanghai Tunnels was the beginning of Hubbs involvement with the Cascade Geographic So- ciety. She went on a tour of this infamous network of catacombs and then assisted on restoration of the Portland Underground, then started backing-up tours, and fi- nally, began giving tours. Hubb also has earned the pres- tigious, but unknown title of having performed in the Shanghai Tunnels more than any other musician. The music she has performed, in several different areas in the dark- ness and shadows of the Portland Underground, has left a lasting im- pression on those who have either witnessed her performance live or have watched it on film. In May of 2019, Hubb ventured down into the Shanghai Tunnels, followed by two volunteers from MetroEast Community Media, who were going to film her performance. Whatever they could capture with the camera would be placed on the 15 different community access channels for east county. The place Hubb was to perform was deep in a secret and out-of- the-way corridor of the Portland Underground, where few people have visited and where there were no lights or electricity. The thick darkness and the absoluteness of the silence created that deep dose of eeriness in a place that was already spooky because of all of the abuse that took place. Tran- sient men were shanghaied out of Portlands treacherous fresh-water ports that were situated along the Willamette River. Then, when you add what the white slavers did to the women by kidnapping them, locking them up in closet-like cells, and then selling them into prostitu- tion, what is already frightening becomes even more so. With no electricity conveniently available, Ellery Nelson and Rick East from MetroEast Community Media had their work cut out for them. All the film equipment, the sound. and the lighting had be battery-operated. This undis- closed corridor in the Shanghai Tun- nels was barely three feet wide and 15 feet long. Hubb had to keep her flute turned to an awkward sideways posi- tion because the site was so narrow. When the Shanghai Tunnel Con- cert began, the concerns about the lack of electricity and lights that had been plaguing the film crew earlier, just seemed to vanish. It was actually the much-needed qui- et that everyone involved seemed to feel would somehow be unex- pectedly disrupted by whatever lurked in the surrounding silence and the forbidding darkness. This uneasiness seemed to isolate this place of music even more. With the film crew ready, the an- ticipation for the flutists concert to begin was over. The time had ar- rived for another Shanghai Tunnel Concert by Hubb. She stepped into the narrow passageway with her flute ready to play her first song. As the cameras started to roll, an ancient-looking latch from the distant past was unfastened and an old historic door in the Shang- hai Tunnel loudly creaked open. This was followed by a black wall that had been hidden, mysteriously opening into a forgotten corridor with a creak that was louder than the previous one. There, in the dim illumination of the passageway, was Hubb, carrying her flute. Hubbs performance was magi- cal. She performed several songs that would have been performed during the early days of shanghai- ing in Portland. Everything from Irish Folk songs to religious tunes, to sea chanties and those that would have been sung on the Oregon Trail and during the Civil War, filled this passageway in the Shanghai Tunnel and wherever else the music could escape to.
Hubbs music was not eclipsed by the darkness and shadows of the Shanghai Tunnel. Instead, her songs seemed to reach out into this place of misery, where shanghaied men had been held underground in cells, before taken through the catacombs to the ships along the waterfront and sold. The sea cap- tains paid $50 a man and the victim worked the voyage for no pay.
This unique concert by Hubb was outstanding. The richness of her music, the songs selected from the shanghaiing era and her professionalism added so much to the performance. As the last songs were being performed, a change seemed to overcome this section of the Shanghai Tunnels. Admit- tedly, ones imagination can get away from them when they venture into the Portland Underground with its history and stories of human abuse, slavery, and infamy. Around the camera filming, the crew heard noises coming towards them out of the darkness. Before they knew it, there were things standing near them that they couldnt see. Yet, in spite of hear- ing their footsteps, they could only sense their presence. From the east, toward where the Willamette River flows and old wharfs use to occupy the banks, the dark- ness seemed to grow the closer it got to this secret passageway. Where there once was light, it was choked-out by a strange fog-like blackness that proved to be even darker than the unlit night.
When the last song concluded, everyone who was present at this secret passageway in the Shang- hai Tunnels was ready to venture above ground, including the flutist. From her viewpoint in the narrow corridor, she could see the shad- ows coming towards her as if to get a better vantage point to see and hear the music being performed.
Finally the last note was played by Hubb on her flute, the camera gear and lights packed-up, the doors creaked shut, and the Shang- hai Tunnels were abandoned. After all such concerts in the darkness and shadows of the infamous Port- land Underground, what is left be- hind is this interesting place whose heritage had been scarred by hu- man abuse and corruption. Here ,where the truth of shanghaiing and white slavery lay hidden, everyone left for the light and sunlight of the world above, leaving behind just the spirits of those who truly under- stand human abuse and why this period in the history of the Rose City has been forgotten. You see, whatever spirits linger in the Shanghai Tunnels, they under- stand both this infamous history and the misery it brought to so many unfortunate souls. You see it hap- pened to them and it is unfortunate- ly easier for the good citizens of the city to ignore what does not affect them, thinking that it will not happen again. They were obviously wrong. Human trafficking is still here today and worse than ever as it conforms to the evils of our world today.
Blues and Seafood began in 2008 and ended in 2016. Some of the headliners included The Lloyd Jones Struggle, The Insomniacs, Albert Cummings, Coco Montoya, and Jimmy Thackery, to name a few. Under the new name of Peninsula R&B Festival, Clint Carter is carrying the torch forward for many more years. He has changed the loca- tion of the festival. It is now ten miles up the Peninsula. Its at the Port of Peninsula in Nahcotta, Wash. The May West, (an oyster dredge that was tak- en out of service), has been installed as the stage for not only the Peninsula R&B Festival but Jazz & Oysters and other local community events. The festival kicks off on Friday, Sept. 13, with The Harp Attack featuring Franco Paletta, Kim Field and Cliff Ashmon on harmonica, and Francos marvelous band, The Stingers. Next, is a local favorite to the Peninsula North Coast Blues. The Headlining Act on Friday night is Ty Curtis. Saturday, Sept. 14, Kris Deelane kicks things off, followed by the Bayou Boyz, Norman Sylvester Band; and closing the festival is British Guitar Virtuoso and Blues Hall of Fam- er Matt Schofield who is widely regard- ed as one of the most innovative guitar- ists to have emerged in generations. Plus there is great food nearby and at the event. Camping for this great event is available nearby but please contact Clint Carter: clintcarterblues@yahoo. com or call 360-244-5823 for more information about that. Hotel & motel lodging is available at local Peninsula establishments, The Shelburne Inn, The Mermaid Inn, RV Park, and many others. Contact www.funbeach.com for a list of lodging options available on the Peninsula. Tickets are avail- able at https://www.tickettomato.com/ event/6098/peninsula-rhythm-amp- blues-festival
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