eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, Stones Throw, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus My Vinyl Weighs a Ton still goes hard.
Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (Needle to the Groove Records, Dad Bod Rap Pod) has been edited for length and clarity.
David Ma: What was your musical experience growing up in San Jose?
Peanut Butter Wolf: My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, The Sound of Music, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when Saturday Night Fever came out, I was hooked on that sound.
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My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did.
When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?
It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we really liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well.
Movies like Breakin’, Beat Street, and Wild Style were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like Magic Number Video with Isaac Stevenson and Night Flight, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of Graffiti Rock came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).
What was your main mode for discovering music in a pre-internet era?
In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings.
Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.
This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound.
Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?
I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”
Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?
Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.
There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.
Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about.
Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the Bass Creator song on a compilation I did. But Jonathan is super prolific. He has hundreds and hundreds of songs.
Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.
So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze.
We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.
Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide.
The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?
So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.
San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?
Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence.
Did you ever hear that Raised By Seuss reissue from a few years ago? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly.
Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For one of the songs I did with them, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”
How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.
People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the Criminal Minded album, and even Eric B. & Rakim’s Paid In Full, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle.
I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released that tape, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it.
One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?
Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.
Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.
“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch.
Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger.
It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.
D-Styles was also part of the group Third Sight when they were active here in San Jose. What do you remember about them when they dropped?
I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records.
Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.
I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record Peanut Butter Breaks and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed.
Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw.
I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP Step On Our Egos, then later on My Vinyl Weighs A Ton along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.
We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?
I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.
So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “You Can’t Swing This,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.
Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?
We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on In Living Color, Rap City, Yo! MTV Raps and The Arsenio Hall Show, get written up in The Source,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called Dance Music Report, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s In Control by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging.
There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma also had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.
What do you know about Charizma’s group, II Def II Touch, before you guys linked?
I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think.
What was the recording process like? Did you guys have similar taste in other artists?
Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.
I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.
In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.
You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.
In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried Ultimate Breaks & Beats, and that was a huge deal. But yeah, overall, Star Records was the best.
Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked?
I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.
Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.
In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?
San Jose was not a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.
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Karaage","publishDate":1714688541,"format":"aside","headTitle":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956683,arts_13955884,arts_13954112']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","status":"publish","parent":0,"modified":1714691484,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":803},"headData":{"title":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage | KQED","description":"Nokori's highballs and Japanese small plates are some of the South Bay’s best-kept secrets.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sunnyvale’s Secret Japanese Whisky Bar Serves Killer Late-Night Karaage","datePublished":"2024-05-02T22:22:21.000Z","dateModified":"2024-05-02T23:11:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13957143","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg\" alt=\"Illustration: a man shovels scallops into his mouth while sitting at an elegant bar. On the counter are tidy lobster sandwiches and fizzy cocktails in highball glasses.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nokori is a Japanese whisky highball bar hidden inside Sunnyvale’s TETRA Hotel. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Here in the Bay Area, the search for late-night food is mostly a matter of excavating the unexpected gems that are hiding in plain sight.\u003c/p>\n\u003cp>To wit: In order to get to \u003ca href=\"https://www.yelp.com/biz/nokori-sunnyvale\">Nokori\u003c/a>, an elegant Japanese whisky bar in Sunnyvale that most Sunnyvaleans haven’t even heard of, you first have to navigate the city’s maze of identical high-tech office parks. Sandwiched between a couple of these anonymous tech campuses sits a \u003ca href=\"https://www.marriott.com/en-us/hotels/sjcva-tetra-hotel-autograph-collection/overview/\">stylish boutique hotel\u003c/a>. And inside that hotel, after you walk through the cool, minimalistic lobby, past the shiny gold leaves dangling from the ceiling, you’ll spot this very chic, very Japanese little cocktail bar — with room for no more than seven or eight people at the counter.\u003c/p>\n\u003cp>When we sidled up to that counter at around 10 o’clock on a recent Friday, there was only one other gentleman there, nursing a cocktail and watching the Japanese F1 race on the TV with the volume turned off. So it really felt like we had stumbled on a secret spot.\u003c/p>\n\u003cp>Of course, we had come because we’d heard Nokori was open until midnight every night, and that it served a concise, appealing menu of fancy izakaya-style small plates until the kitchen did its last call at 11. And also because the bar specializes in the Japanese whisky highball, which happens to be my favorite drink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A basic highball is just Japanese whisky, soda water and ice, but Nokori is one of a handful of bars around the Bay Area that has installed a \u003ca href=\"https://punchdrink.com/articles/toki-japanese-whisky-highball-machine-has-been-hacked/\">special soda dispenser\u003c/a> from Japan that makes the soda water extra-extra fizzy — so much so that the bubbles look visibly angry. The bar serves a whopping nine different highballs, and it uses the expensive kind of ice that’s just one long, perfectly clear cuboid in your glass. All of which to say: My yuzu highball was fantastic. Cold and refreshing as could be. Subtly citrusy. Sneakily strong.\u003c/p>\n\u003cfigure id=\"attachment_13957149\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg\" alt=\"Illustration: An elegant hotel lobby with modern, minimalist couches and an elegant bar at one end of the room, with sparkly gold leaves dangling from the ceiling.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Nokori-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For late-night diners looking for a more quiet and chill experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the food, however, that will bring me back. We ordered torched Hokkaido scallops that were served in a style you might expect to find at one of the Bay Area’s buzzier, Asian-inflected fine dining restaurants. The mostly raw scallops had a zippy leche de tigre dressing and were artfully garnished with algae, rice puffs and briny sea grapes that burst in your mouth — a fun pop-and-crunch effect.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956683,arts_13955884,arts_13954112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>I also had one of the tastiest versions of Japanese karaage-style fried chicken that I’ve eaten in months — just impeccably crispy, well-seasoned and juicy thighs, no bells and whistles other than the little bowl of watery onion salsa that you could spoon over the chicken for a bit of brightness. And, perhaps most decadently, there were furikake-topped lobster grilled cheese sandwiches, served on bouncy Japanese milk bread. (Could I \u003ci>really\u003c/i> taste that it was lobster, instead of some less rarefied protein, under all that cheese? Maybe not. But I did want to dunk everything on the table into the savory miso aioli that came with the sandwich.)\u003c/p>\n\u003cp>No surprise, all those small plates can add up to a bit of a hefty bill if you’re eating \u003ci>dinner\u003c/i> dinner. But for a fancy late-night snack at the bar? Considering that we were the only people ordering food at that hour, everything was so much more ambitious and better-tasting than it really needed to be.\u003c/p>\n\u003cp>So many of the Bay Area’s other after-hours spots are notable because of how crowded and bustling they are even late into the night, but Nokori’s virtues run in the opposite direction, appealing to anyone looking for a more chill and quiet late-night experience. This is the kind of elegant hotel bar where you might imagine yourself striking up a conversation with a beautiful stranger, or maybe your side-piece — or, if luck isn’t on your side, a couple of unkempt food writer types.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tetrahotelsv.com/dining/nokori/\">\u003ci>Nokori\u003c/i>\u003c/a>\u003ci> is open daily from 3 p.m. to midnight inside TETRA Hotel (400 W. Java Dr., Sunnyvale); the kitchen is open 4–11 p.m. If you park in the hotel parking garage, Nokori will validate your parking.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori","authors":["11743","11753"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_22055","arts_10278","arts_10422","arts_1297","arts_21732","arts_8805","arts_3001","arts_2475","arts_14954","arts_21928"],"featImg":"arts_13957147","label":"source_arts_13957143"},"arts_13956767":{"type":"posts","id":"arts_13956767","meta":{"index":"posts_1591205157","site":"arts","id":"13956767","found":true},"guestAuthors":[],"slug":"billie-eilish-san-jose-sap-center-december-presale-code","title":"Ticket Alert: Billie Eilish at San Jose’s SAP Center in December","publishDate":1714423135,"format":"standard","headTitle":"Ticket Alert: Billie Eilish at San Jose’s SAP Center in December | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Billie Eilish is on a hot streak after her recent Oscar win for the whisper-sung ballad from \u003cem>Barbie\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cW8VLC9nnTo\">What Was I Made For\u003c/a>?” And today, the singer announced a world tour to support her upcoming album \u003cem>Hit Me Hard and Soft\u003c/em>, which drops May 17.\u003c/p>\n\u003cp>Eilish stops in the Bay Area on Dec. 10 and 11 at San Jose’s SAP Center. \u003ca href=\"https://store.billieeilish.com/pages/tour\">The Live Nation-produced tour\u003c/a> kicks off in Quebec in September and ends in Dublin, Ireland in July 2025.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/QhlqyzjVU0s?si=6MR5DLTTj3lEOZ3V\">At Coachella\u003c/a> and in an \u003ca href=\"https://youtu.be/dkGUTfdVGuI?si=dwmg1K3IbRY1JxKO\">Apple Music interview\u003c/a> with Zane Lowe, Eilish teased new music from \u003cem>Hit Me Hard and Soft\u003c/em>. Going by the snippets she’s shared, the album appears to usher in a confident, sensual era of owning her queerness, which she recently spoke about in-depth in a \u003ca href=\"https://www.rollingstone.com/music/music-features/billie-eilish-hit-me-hard-and-soft-mental-health-fame-1235003585/\">\u003cem>Rolling Stone\u003c/em> cover story\u003c/a>.\u003c/p>\n\u003cp>Tickets for the tour go on sale for American Express cardholders on Tuesday, April 30 (at noon for Dec 10, and 1 p.m. for Dec 11). An artist presale also starts at that time; a promo code will be sent out via \u003ca href=\"https://store.billieeilish.com/\">Eilish’s mailing list\u003c/a>, the sign-up for which is at \u003ca href=\"https://store.billieeilish.com/pages/tour\">the bottom of her website\u003c/a>. Remaining tickets for the two San Jose dates go on sale to the general public on Friday, May 3, at noon and 1 p.m. respectively.\u003c/p>\n\u003cp>To discourage scalping, tickets to Eilish’s tour can be resold at their original price, not for a profit, through Ticketmaster’s Face Value Exchange. Eilish is also making an effort to make the tour more environmentally sustainable by reducing single-use plastics and encouraging fans to use public transit. A portion of North American ticket sales will go to environmental nonprofit \u003ca href=\"https://reverb.org/\">REVERB\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"American Express and artist presales begin on April 30 at noon. ","status":"publish","parent":0,"modified":1714424929,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":294},"headData":{"title":"Billie Eilish in San Jose: Presale Code Info for SAP Center | KQED","description":"American Express and artist presales begin on April 30 at noon. ","ogTitle":"Ticket Alert: Billie Eilish at San Jose's SAP Center in December","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Billie Eilish at San Jose's SAP Center in December","twDescription":"","twImgId":"","socialTitle":"Billie Eilish in San Jose: Presale Code Info for SAP Center %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Billie Eilish at San Jose’s SAP Center in December","datePublished":"2024-04-29T20:38:55.000Z","dateModified":"2024-04-29T21:08:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956767","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956767/billie-eilish-san-jose-sap-center-december-presale-code","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish is on a hot streak after her recent Oscar win for the whisper-sung ballad from \u003cem>Barbie\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cW8VLC9nnTo\">What Was I Made For\u003c/a>?” And today, the singer announced a world tour to support her upcoming album \u003cem>Hit Me Hard and Soft\u003c/em>, which drops May 17.\u003c/p>\n\u003cp>Eilish stops in the Bay Area on Dec. 10 and 11 at San Jose’s SAP Center. \u003ca href=\"https://store.billieeilish.com/pages/tour\">The Live Nation-produced tour\u003c/a> kicks off in Quebec in September and ends in Dublin, Ireland in July 2025.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/QhlqyzjVU0s?si=6MR5DLTTj3lEOZ3V\">At Coachella\u003c/a> and in an \u003ca href=\"https://youtu.be/dkGUTfdVGuI?si=dwmg1K3IbRY1JxKO\">Apple Music interview\u003c/a> with Zane Lowe, Eilish teased new music from \u003cem>Hit Me Hard and Soft\u003c/em>. Going by the snippets she’s shared, the album appears to usher in a confident, sensual era of owning her queerness, which she recently spoke about in-depth in a \u003ca href=\"https://www.rollingstone.com/music/music-features/billie-eilish-hit-me-hard-and-soft-mental-health-fame-1235003585/\">\u003cem>Rolling Stone\u003c/em> cover story\u003c/a>.\u003c/p>\n\u003cp>Tickets for the tour go on sale for American Express cardholders on Tuesday, April 30 (at noon for Dec 10, and 1 p.m. for Dec 11). An artist presale also starts at that time; a promo code will be sent out via \u003ca href=\"https://store.billieeilish.com/\">Eilish’s mailing list\u003c/a>, the sign-up for which is at \u003ca href=\"https://store.billieeilish.com/pages/tour\">the bottom of her website\u003c/a>. Remaining tickets for the two San Jose dates go on sale to the general public on Friday, May 3, at noon and 1 p.m. respectively.\u003c/p>\n\u003cp>To discourage scalping, tickets to Eilish’s tour can be resold at their original price, not for a profit, through Ticketmaster’s Face Value Exchange. Eilish is also making an effort to make the tour more environmentally sustainable by reducing single-use plastics and encouraging fans to use public transit. A portion of North American ticket sales will go to environmental nonprofit \u003ca href=\"https://reverb.org/\">REVERB\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956767/billie-eilish-san-jose-sap-center-december-presale-code","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_1084","arts_585"],"featImg":"arts_13876304","label":"arts"},"arts_13956964":{"type":"posts","id":"arts_13956964","meta":{"index":"posts_1591205157","site":"arts","id":"13956964","found":true},"guestAuthors":[],"slug":"tiktok-man-or-bear-question-bible-answer-viral-videos","title":"TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God","publishDate":1714595601,"format":"standard","headTitle":"TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The trend has been ramping up on TikTok for over a month: women casually ask the men in their lives if they’d rather leave their daughters in the woods with a man or a bear, then film the results.\u003c/p>\n\u003cp>The “\u003ca href=\"https://www.tiktok.com/t/ZPRwPTkc1/\">Man or Bear?\u003c/a>” question is brilliant in its simplicity — we know nothing about the bear or the man. Watching men’s reactions to the question has, in the last few weeks, become something of a litmus test.\u003c/p>\n\u003cp>Many men struggle with the options presented, then have a major lightbulb moment:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@thewildwitchjean/video/7361277011970624811\" data-video-id=\"7361277011970624811\">\n\u003csection>\u003ca title=\"@thewildwitchjean\" href=\"https://www.tiktok.com/@thewildwitchjean?refer=embed\" target=\"_blank\" rel=\"noopener\">@thewildwitchjean\u003c/a> \u003ca title=\"duet\" href=\"https://www.tiktok.com/tag/duet?refer=embed\" target=\"_blank\" rel=\"noopener\">#duet\u003c/a> with @Kators \u003ca title=\"bearorman\" href=\"https://www.tiktok.com/tag/bearorman?refer=embed\" target=\"_blank\" rel=\"noopener\">#bearorman\u003c/a> \u003ca title=\"doyougetitnow?\" href=\"https://www.tiktok.com/tag/doyougetitnow%3F?refer=embed\" target=\"_blank\" rel=\"noopener\">#doyougetitnow?\u003c/a> \u003ca title=\"♬ original sound - Kators\" href=\"https://www.tiktok.com/music/original-sound-7360885161216871211?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kators\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Some come to the sudden realization that they distrust men just as much as women do:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@skylar_miftari/video/7361995698327309611\" data-video-id=\"7361995698327309611\">\n\u003csection>\u003ca title=\"@skylar_miftari\" href=\"https://www.tiktok.com/@skylar_miftari?refer=embed\" target=\"_blank\" rel=\"noopener\">@skylar_miftari\u003c/a> Hes clearly ready to be a girl dad😂😂😂 “shes gonna be the sweetest soul” 🥲 \u003ca title=\"manorbear\" href=\"https://www.tiktok.com/tag/manorbear?refer=embed\" target=\"_blank\" rel=\"noopener\">#manorbear\u003c/a> \u003ca title=\"girldad\" href=\"https://www.tiktok.com/tag/girldad?refer=embed\" target=\"_blank\" rel=\"noopener\">#girldad\u003c/a> \u003ca title=\"♬ original sound - Sky\" href=\"https://www.tiktok.com/music/original-sound-7361995790707067690?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Sky\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And some have needed to have the point of this entire trend — and \u003ca href=\"https://www.tiktok.com/@dontceceme/video/7362991831711255851?_r=1&_t=8lyNITxtf8o\">the reasons most women opt for the bear\u003c/a> — explained to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the discussion has expanded over the last week or so, however, folks have started to give quantifiable answers as to why the bear is always the better option.\u003c/p>\n\u003cp>Here’s one ecology major spitting some bear stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bbqtiddies/video/7358921328671362346\" data-video-id=\"7358921328671362346\">\n\u003csection>\u003ca title=\"@bbqtiddies\" href=\"https://www.tiktok.com/@bbqtiddies?refer=embed\" target=\"_blank\" rel=\"noopener\">@bbqtiddies\u003c/a> \u003ca title=\"stitch\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\" target=\"_blank\" rel=\"noopener\">#stitch\u003c/a> with @Jonathan Buchanan BEARS > MEN \u003ca title=\"ecology\" href=\"https://www.tiktok.com/tag/ecology?refer=embed\" target=\"_blank\" rel=\"noopener\">#ecology\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"wildlife\" href=\"https://www.tiktok.com/tag/wildlife?refer=embed\" target=\"_blank\" rel=\"noopener\">#wildlife\u003c/a> \u003ca title=\"bear\" href=\"https://www.tiktok.com/tag/bear?refer=embed\" target=\"_blank\" rel=\"noopener\">#bear\u003c/a> \u003ca title=\"♬ original sound - jj\" href=\"https://www.tiktok.com/music/original-sound-7358921456442723118?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – jj\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Here’s one helpful man offering some man stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@dadchats/video/7364106067070111019\" data-video-id=\"7364106067070111019\">\n\u003csection>\u003ca title=\"@dadchats\" href=\"https://www.tiktok.com/@dadchats?refer=embed\" target=\"_blank\" rel=\"noopener\">@dadchats\u003c/a>This is America 🐻 👨\u003ca title=\"♬ original sound - dadchats\" href=\"https://www.tiktok.com/music/original-sound-7364106106110626602?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – dadchats\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But the absolute winner, hands down — the reason we can all stop asking each other the “Man or Bear?” question now — is one young woman who turned all the way up to God for answers. Turns out it’s true. The angriest bear on Earth is still better than a reckless man. We know because the Bible tells us so.\u003c/p>\n\u003cp>Thanks for taking this to the weirdest possible place, Alana.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@alana.snorts_driveways/video/7363354830372375851\" data-video-id=\"7363354830372375851\">\n\u003csection>\u003ca title=\"@alana.snorts_driveways\" href=\"https://www.tiktok.com/@alana.snorts_driveways?refer=embed\" target=\"_blank\" rel=\"noopener\">@alana.snorts_driveways\u003c/a>Recklessness, in anyone, is more dangerous than an angry mama bear. The text by itself and in concert with the whole chapter is a masterpiece and i encourage a more in depth reading as even this in context is still without complete context! God bkess you, my friends!! Jesus loves you so much!! ✝️🤍🙌📖\u003ca title=\"♬ original sound - alana.snorts_driveways\" href=\"https://www.tiktok.com/music/original-sound-7363354882549779246?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – alana.snorts_driveways\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>[tiktok]\u003c/p>\n\n","blocks":[],"excerpt":"Praise be! A verse from Proverbs directly addresses who it’s better to be stuck in the woods with...","status":"publish","parent":0,"modified":1714599048,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":400},"headData":{"title":"The Bible Has the Answer to TikTok’s ‘Man or Bear?’ Question | KQED","description":"Praise be! A verse from Proverbs directly addresses who it’s better to be stuck in the woods with...","ogTitle":"TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God","ogDescription":"","ogImgId":"","twTitle":"TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God","twDescription":"","twImgId":"","socialTitle":"The Bible Has the Answer to TikTok’s ‘Man or Bear?’ Question %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God","datePublished":"2024-05-01T20:33:21.000Z","dateModified":"2024-05-01T21:30:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956964","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956964/tiktok-man-or-bear-question-bible-answer-viral-videos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The trend has been ramping up on TikTok for over a month: women casually ask the men in their lives if they’d rather leave their daughters in the woods with a man or a bear, then film the results.\u003c/p>\n\u003cp>The “\u003ca href=\"https://www.tiktok.com/t/ZPRwPTkc1/\">Man or Bear?\u003c/a>” question is brilliant in its simplicity — we know nothing about the bear or the man. Watching men’s reactions to the question has, in the last few weeks, become something of a litmus test.\u003c/p>\n\u003cp>Many men struggle with the options presented, then have a major lightbulb moment:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@thewildwitchjean/video/7361277011970624811\" data-video-id=\"7361277011970624811\">\n\u003csection>\u003ca title=\"@thewildwitchjean\" href=\"https://www.tiktok.com/@thewildwitchjean?refer=embed\" target=\"_blank\" rel=\"noopener\">@thewildwitchjean\u003c/a> \u003ca title=\"duet\" href=\"https://www.tiktok.com/tag/duet?refer=embed\" target=\"_blank\" rel=\"noopener\">#duet\u003c/a> with @Kators \u003ca title=\"bearorman\" href=\"https://www.tiktok.com/tag/bearorman?refer=embed\" target=\"_blank\" rel=\"noopener\">#bearorman\u003c/a> \u003ca title=\"doyougetitnow?\" href=\"https://www.tiktok.com/tag/doyougetitnow%3F?refer=embed\" target=\"_blank\" rel=\"noopener\">#doyougetitnow?\u003c/a> \u003ca title=\"♬ original sound - Kators\" href=\"https://www.tiktok.com/music/original-sound-7360885161216871211?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kators\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some come to the sudden realization that they distrust men just as much as women do:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@skylar_miftari/video/7361995698327309611\" data-video-id=\"7361995698327309611\">\n\u003csection>\u003ca title=\"@skylar_miftari\" href=\"https://www.tiktok.com/@skylar_miftari?refer=embed\" target=\"_blank\" rel=\"noopener\">@skylar_miftari\u003c/a> Hes clearly ready to be a girl dad😂😂😂 “shes gonna be the sweetest soul” 🥲 \u003ca title=\"manorbear\" href=\"https://www.tiktok.com/tag/manorbear?refer=embed\" target=\"_blank\" rel=\"noopener\">#manorbear\u003c/a> \u003ca title=\"girldad\" href=\"https://www.tiktok.com/tag/girldad?refer=embed\" target=\"_blank\" rel=\"noopener\">#girldad\u003c/a> \u003ca title=\"♬ original sound - Sky\" href=\"https://www.tiktok.com/music/original-sound-7361995790707067690?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Sky\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And some have needed to have the point of this entire trend — and \u003ca href=\"https://www.tiktok.com/@dontceceme/video/7362991831711255851?_r=1&_t=8lyNITxtf8o\">the reasons most women opt for the bear\u003c/a> — explained to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the discussion has expanded over the last week or so, however, folks have started to give quantifiable answers as to why the bear is always the better option.\u003c/p>\n\u003cp>Here’s one ecology major spitting some bear stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bbqtiddies/video/7358921328671362346\" data-video-id=\"7358921328671362346\">\n\u003csection>\u003ca title=\"@bbqtiddies\" href=\"https://www.tiktok.com/@bbqtiddies?refer=embed\" target=\"_blank\" rel=\"noopener\">@bbqtiddies\u003c/a> \u003ca title=\"stitch\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\" target=\"_blank\" rel=\"noopener\">#stitch\u003c/a> with @Jonathan Buchanan BEARS > MEN \u003ca title=\"ecology\" href=\"https://www.tiktok.com/tag/ecology?refer=embed\" target=\"_blank\" rel=\"noopener\">#ecology\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"wildlife\" href=\"https://www.tiktok.com/tag/wildlife?refer=embed\" target=\"_blank\" rel=\"noopener\">#wildlife\u003c/a> \u003ca title=\"bear\" href=\"https://www.tiktok.com/tag/bear?refer=embed\" target=\"_blank\" rel=\"noopener\">#bear\u003c/a> \u003ca title=\"♬ original sound - jj\" href=\"https://www.tiktok.com/music/original-sound-7358921456442723118?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – jj\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s one helpful man offering some man stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@dadchats/video/7364106067070111019\" data-video-id=\"7364106067070111019\">\n\u003csection>\u003ca title=\"@dadchats\" href=\"https://www.tiktok.com/@dadchats?refer=embed\" target=\"_blank\" rel=\"noopener\">@dadchats\u003c/a>This is America 🐻 👨\u003ca title=\"♬ original sound - dadchats\" href=\"https://www.tiktok.com/music/original-sound-7364106106110626602?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – dadchats\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the absolute winner, hands down — the reason we can all stop asking each other the “Man or Bear?” question now — is one young woman who turned all the way up to God for answers. Turns out it’s true. The angriest bear on Earth is still better than a reckless man. We know because the Bible tells us so.\u003c/p>\n\u003cp>Thanks for taking this to the weirdest possible place, Alana.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@alana.snorts_driveways/video/7363354830372375851\" data-video-id=\"7363354830372375851\">\n\u003csection>\u003ca title=\"@alana.snorts_driveways\" href=\"https://www.tiktok.com/@alana.snorts_driveways?refer=embed\" target=\"_blank\" rel=\"noopener\">@alana.snorts_driveways\u003c/a>Recklessness, in anyone, is more dangerous than an angry mama bear. The text by itself and in concert with the whole chapter is a masterpiece and i encourage a more in depth reading as even this in context is still without complete context! God bkess you, my friends!! Jesus loves you so much!! ✝️🤍🙌📖\u003ca title=\"♬ original sound - alana.snorts_driveways\" href=\"https://www.tiktok.com/music/original-sound-7363354882549779246?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – alana.snorts_driveways\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956964/tiktok-man-or-bear-question-bible-answer-viral-videos","authors":["11242"],"categories":["arts_1","arts_75"],"tags":["arts_7580","arts_2137","arts_2391","arts_8017","arts_8491"],"featImg":"arts_13956971","label":"arts"},"arts_13956809":{"type":"posts","id":"arts_13956809","meta":{"index":"posts_1591205157","site":"arts","id":"13956809","found":true},"guestAuthors":[],"slug":"chocolate-sourdough-backhaus-san-mateo-burlingame","title":"Is Chocolate Sourdough the Bay Area’s Most Delicious Secret?","publishDate":1714588045,"format":"standard","headTitle":"Is Chocolate Sourdough the Bay Area’s Most Delicious Secret? | KQED","labelTerm":{},"content":"\u003cp>Before moving to California from Leipzig, Germany, Anne Moser had never considered making sourdough bread. She didn’t know much about it and had no plans to become a professional baker.\u003c/p>\n\u003cp>In fact, after immigrating to Monterey Bay in 2009 to pursue her Master’s in International Studies, Moser became a part-time translator for half a decade before she ended up in Daly City with her husband, Robert, who grew up in the Bay Area.\u003c/p>\n\u003cp>So it’s especially noteworthy that Moser has established herself as one of the Bay Area’s brightest sourdough luminaries.\u003c/p>\n\u003cfigure id=\"attachment_13956816\" class=\"wp-caption alignleft\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Anne Moser first learned how to bake sourdough when she reached the Bay Area in 2013. \u003ccite>(Courtesy Anne Moser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I never baked sourdough before,” says Moser. “I started when I was here. I missed having bakeries I could walk to. I randomly ordered Chad Robertson’s book, \u003ci>Tartine Bread\u003c/i>, and gave it a try in 2013. I was just baking for my family, and it became too much bread, so we started giving it to neighbors and friends.”\u003c/p>\n\u003cp>Moser went on to become the masterful head baker and founder of \u003ca href=\"https://www.instagram.com/backhausbread/?hl=en\">Backhaus\u003c/a>, which began to sell loaves at local markets in 2016, eventually opening their first brick-and-mortar in downtown San Mateo. Now one of the Peninsula’s buzziest bread suppliers, the German-inspired “bakehouse” continues to rise like a loaf of naturally leavened dough. Last November, the couple opened their second location in Burlingame to much fanfare (and \u003ca href=\"https://www.sfgate.com/food/article/burlingame-bakery-backhaus-bakehouse-17902769.php\">a dash of name confusion\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps most impressive, though? Backhaus serves what might be the best sourdough bread I’ve ever eaten. And it’s not the kind of white-bread sourdough you may be envisioning. Actually, this sourdough is far from the run-of-the-mill loaf you can pick up at any bakery.\u003c/p>\n\u003cp>What Moser — who now refers to herself as \u003ca href=\"https://twitter.com/abagofflour?lang=en\">a “benevolent ruler over billions of wild yeast minions” on X\u003c/a> — has perfected is a true rarity of carb-laden, soul-mending, San Franciscan wonder: the chocolate sourdough mini-loaf.\u003c/p>\n\u003cp>“We decided on the small format because some people might eat it by themselves, but you don’t necessarily want a full size of that. If your loaf for the whole week is just chocolate, it can be limiting for the sandwiches you make,” Moser laughs. “But it’s good with cream cheese or your favorite preserve, almond butter or peanut butter.”\u003c/p>\n\u003cp>Admittedly, due to its small size, I was left desiring more. I would happily eat a larger portion — any day of the week. Moser tells me that (surprisingly) no one has ever asked her to bake a full-size loaf of the chocolate specialty bread, which is only available on weekends. But that’s the first thing that crossed my mind while eating it. (The second was to fantasize about turning it into chocolate sourdough French toast).\u003c/p>\n\u003cp>With an empyrean, almost-marshmallow-like fluff, the slightly-melted chocolate bits dissolve on your tongue while the chewy country sourdough loaf provides a fibrous counterbalance. The bread has the iconic acidity of supreme-tier sourdough — yet, inside and out, the small loaves are a dark brown shade that would make any Hershey’s bar blush.\u003c/p>\n\u003cfigure id=\"attachment_13956870\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior.jpg\" alt=\"a loaf of sliced open chocolate sourdough is displayed on a wooden table outdoors\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The chocolate slightly melts into the sourdough. \u003ccite>(Alan Chazaro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to sprinkling semisweet chips from Burlingame-based Guittard into the dough, Moser’s recipe adds cocoa powder and honey, giving the bread its lightly candied — but not overly sugary — piquancy. It’s both savory and filling. And though it’s certainly not the first time anyone has made chocolate sourdough, it’s the only Bay Area bakery (in my personal findings) that seems to be supplying the near-perfect combination on a regular basis.\u003c/p>\n\u003cp>[aside postID='arts_13953330,arts_13900855,arts_13879390']Of course, sourdough bread has long been one of the Bay Area’s most iconic foods. Since 1849, its distinctive tang has sustained gold rushers, trappers, thieves, railroad workers, immigrants, politicians, brothel-goers and, of course, modern day hipsters and food influencers. In recent years, sourdough has had a veritable renaissance, appearing in \u003ca href=\"https://www.sfgate.com/food/article/sourdough-doughnuts-bay-area-18588129.php\">doughnuts\u003c/a>, pizza, croissants, pretzels and just about anything else that local foodies can mold into an edible form (and yes, that includes \u003ca href=\"https://www.goodeggs.com/jackandremi/sourdough-toast-and-jam-ice-cream/6508a22d22152700116a3865\">scoops of ice cream\u003c/a>).\u003c/p>\n\u003cp>Now, Moser and her sourdough contemporaries — whether it be the old-school outposts like Boudin, the new-school leaders in Tartine and Arizmendi, or the cultishly experimentalist deviations of Rize Up — are \u003ci>still \u003c/i>finding ways to improve the unmistakably yeasty recipe.\u003c/p>\n\u003cp>Maybe that’s part of the mystic allure of sourdough — its undying, amoebic permutations across time, space and bakery continuums. As someone who has jumped through many sourdough portals that the Bay Area has presented in my lifetime, I had never encountered a chocolate-ized one. Until now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Backhaus’ bakeries in San Mateo (32 E. 3rd Ave.) and Burlingame (261 California Dr.) are open every day except Monday, from 7:30 a.m. to 4 p.m. Chocolate sourdough mini-loaves are only available on Saturday and Sunday, in limited quantities on a first-come, first-served basis.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A Peninsula baker has perfected the combination of tangy sourdough and semi-sweet chocolate.","status":"publish","parent":0,"modified":1714603352,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":884},"headData":{"title":"The Bay Area's Best Chocolate Sourdough Is Served on Weekends Only | KQED","description":"A Peninsula baker has perfected the combination of tangy sourdough and semi-sweet chocolate.","ogTitle":"Is Chocolate Sourdough the Bay Area’s Most Delicious Secret?","ogDescription":"","ogImgId":"","twTitle":"Is Chocolate Sourdough the Bay Area’s Most Delicious Secret?","twDescription":"","twImgId":"","socialTitle":"The Bay Area's Best Chocolate Sourdough Is Served on Weekends Only %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Chocolate Sourdough the Bay Area’s Most Delicious Secret?","datePublished":"2024-05-01T18:27:25.000Z","dateModified":"2024-05-01T22:42:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956809","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956809/chocolate-sourdough-backhaus-san-mateo-burlingame","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before moving to California from Leipzig, Germany, Anne Moser had never considered making sourdough bread. She didn’t know much about it and had no plans to become a professional baker.\u003c/p>\n\u003cp>In fact, after immigrating to Monterey Bay in 2009 to pursue her Master’s in International Studies, Moser became a part-time translator for half a decade before she ended up in Daly City with her husband, Robert, who grew up in the Bay Area.\u003c/p>\n\u003cp>So it’s especially noteworthy that Moser has established herself as one of the Bay Area’s brightest sourdough luminaries.\u003c/p>\n\u003cfigure id=\"attachment_13956816\" class=\"wp-caption alignleft\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate_sourdough_baker-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Anne Moser first learned how to bake sourdough when she reached the Bay Area in 2013. \u003ccite>(Courtesy Anne Moser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I never baked sourdough before,” says Moser. “I started when I was here. I missed having bakeries I could walk to. I randomly ordered Chad Robertson’s book, \u003ci>Tartine Bread\u003c/i>, and gave it a try in 2013. I was just baking for my family, and it became too much bread, so we started giving it to neighbors and friends.”\u003c/p>\n\u003cp>Moser went on to become the masterful head baker and founder of \u003ca href=\"https://www.instagram.com/backhausbread/?hl=en\">Backhaus\u003c/a>, which began to sell loaves at local markets in 2016, eventually opening their first brick-and-mortar in downtown San Mateo. Now one of the Peninsula’s buzziest bread suppliers, the German-inspired “bakehouse” continues to rise like a loaf of naturally leavened dough. Last November, the couple opened their second location in Burlingame to much fanfare (and \u003ca href=\"https://www.sfgate.com/food/article/burlingame-bakery-backhaus-bakehouse-17902769.php\">a dash of name confusion\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps most impressive, though? Backhaus serves what might be the best sourdough bread I’ve ever eaten. And it’s not the kind of white-bread sourdough you may be envisioning. Actually, this sourdough is far from the run-of-the-mill loaf you can pick up at any bakery.\u003c/p>\n\u003cp>What Moser — who now refers to herself as \u003ca href=\"https://twitter.com/abagofflour?lang=en\">a “benevolent ruler over billions of wild yeast minions” on X\u003c/a> — has perfected is a true rarity of carb-laden, soul-mending, San Franciscan wonder: the chocolate sourdough mini-loaf.\u003c/p>\n\u003cp>“We decided on the small format because some people might eat it by themselves, but you don’t necessarily want a full size of that. If your loaf for the whole week is just chocolate, it can be limiting for the sandwiches you make,” Moser laughs. “But it’s good with cream cheese or your favorite preserve, almond butter or peanut butter.”\u003c/p>\n\u003cp>Admittedly, due to its small size, I was left desiring more. I would happily eat a larger portion — any day of the week. Moser tells me that (surprisingly) no one has ever asked her to bake a full-size loaf of the chocolate specialty bread, which is only available on weekends. But that’s the first thing that crossed my mind while eating it. (The second was to fantasize about turning it into chocolate sourdough French toast).\u003c/p>\n\u003cp>With an empyrean, almost-marshmallow-like fluff, the slightly-melted chocolate bits dissolve on your tongue while the chewy country sourdough loaf provides a fibrous counterbalance. The bread has the iconic acidity of supreme-tier sourdough — yet, inside and out, the small loaves are a dark brown shade that would make any Hershey’s bar blush.\u003c/p>\n\u003cfigure id=\"attachment_13956870\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior.jpg\" alt=\"a loaf of sliced open chocolate sourdough is displayed on a wooden table outdoors\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/chocolate-sourdough-interior-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The chocolate slightly melts into the sourdough. \u003ccite>(Alan Chazaro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to sprinkling semisweet chips from Burlingame-based Guittard into the dough, Moser’s recipe adds cocoa powder and honey, giving the bread its lightly candied — but not overly sugary — piquancy. It’s both savory and filling. And though it’s certainly not the first time anyone has made chocolate sourdough, it’s the only Bay Area bakery (in my personal findings) that seems to be supplying the near-perfect combination on a regular basis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953330,arts_13900855,arts_13879390","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Of course, sourdough bread has long been one of the Bay Area’s most iconic foods. Since 1849, its distinctive tang has sustained gold rushers, trappers, thieves, railroad workers, immigrants, politicians, brothel-goers and, of course, modern day hipsters and food influencers. In recent years, sourdough has had a veritable renaissance, appearing in \u003ca href=\"https://www.sfgate.com/food/article/sourdough-doughnuts-bay-area-18588129.php\">doughnuts\u003c/a>, pizza, croissants, pretzels and just about anything else that local foodies can mold into an edible form (and yes, that includes \u003ca href=\"https://www.goodeggs.com/jackandremi/sourdough-toast-and-jam-ice-cream/6508a22d22152700116a3865\">scoops of ice cream\u003c/a>).\u003c/p>\n\u003cp>Now, Moser and her sourdough contemporaries — whether it be the old-school outposts like Boudin, the new-school leaders in Tartine and Arizmendi, or the cultishly experimentalist deviations of Rize Up — are \u003ci>still \u003c/i>finding ways to improve the unmistakably yeasty recipe.\u003c/p>\n\u003cp>Maybe that’s part of the mystic allure of sourdough — its undying, amoebic permutations across time, space and bakery continuums. As someone who has jumped through many sourdough portals that the Bay Area has presented in my lifetime, I had never encountered a chocolate-ized one. Until now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Backhaus’ bakeries in San Mateo (32 E. 3rd Ave.) and Burlingame (261 California Dr.) are open every day except Monday, from 7:30 a.m. to 4 p.m. Chocolate sourdough mini-loaves are only available on Saturday and Sunday, in limited quantities on a first-come, first-served basis.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956809/chocolate-sourdough-backhaus-san-mateo-burlingame","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_5400","arts_10278","arts_1297","arts_21881"],"featImg":"arts_13956818","label":"source_arts_13956809"},"arts_13956901":{"type":"posts","id":"arts_13956901","meta":{"index":"posts_1591205157","site":"arts","id":"13956901","found":true},"guestAuthors":[],"slug":"fourth-street-market-hall-foods-berkeley-closed","title":"Berkeley's Market Hall Foods Is Closing After 28 Years","publishDate":1714518854,"format":"standard","headTitle":"Berkeley’s Market Hall Foods Is Closing After 28 Years | KQED","labelTerm":{},"content":"\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>[aside postID='arts_13954342,arts_13931296']The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n","blocks":[],"excerpt":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","status":"publish","parent":0,"modified":1714537959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":561},"headData":{"title":"Berkeley's Market Hall Foods Is Closing After 28 Years | KQED","description":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley's Market Hall Foods Is Closing After 28 Years","datePublished":"2024-04-30T23:14:14.000Z","dateModified":"2024-05-01T04:32:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956901","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954342,arts_13931296","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","authors":["11748"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_1270","arts_10331","arts_5569","arts_10278","arts_1297"],"featImg":"arts_13956906","label":"source_arts_13956901"},"arts_13956954":{"type":"posts","id":"arts_13956954","meta":{"index":"posts_1591205157","site":"arts","id":"13956954","found":true},"guestAuthors":[{"ID":"13818453","displayName":"Sidney Madden","firstName":"Sidney","lastName":"Madden","userLogin":"sidney-madden","userEmail":"","linkedAccount":"","website":"https://www.npr.org/people/565465074/sidney-madden","description":"","userNicename":"sidney-madden","type":"guest-author","nickname":""}],"slug":"kendrick-lamar-drake-beef-euphoria-push-ups-like-that","title":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","publishDate":1714586439,"format":"standard","headTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NPqDIwWMtxg\u003c/p>\n\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>[aside postid='arts_13955802']It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13912853']The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n","blocks":[],"excerpt":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","status":"publish","parent":0,"modified":1714670802,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":994},"headData":{"title":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom | KQED","description":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","ogTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","ogDescription":"","ogImgId":"","twTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","twDescription":"","twImgId":"","socialTitle":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","datePublished":"2024-05-01T18:00:39.000Z","dateModified":"2024-05-02T17:26:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Sidney Madden, NPR","nprStoryId":"1248232222","nprHtmlLink":"https://www.npr.org/2024/04/30/1248232222/kendrick-lamar-euphoria-drake-rap-beef","nprRetrievedStory":"1","nprPubDate":"2024-04-30T16:48:46-04:00","nprStoryDate":"2024-04-30T16:48:46-04:00","nprLastModifiedDate":"2024-04-30T16:48:46-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NPqDIwWMtxg'\n title='//www.youtube.com/embed/NPqDIwWMtxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955802","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13912853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","authors":["byline_arts_13956954"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_6117","arts_831","arts_1774"],"affiliates":["arts_137"],"featImg":"arts_13956955","label":"arts_137"},"arts_13956807":{"type":"posts","id":"arts_13956807","meta":{"index":"posts_1591205157","site":"arts","id":"13956807","found":true},"guestAuthors":[],"slug":"uc-berkeley-falcons-new-chicks-2024-annie-archie-campanile","title":"The New UC Berkeley Falcon Chicks Are Running Their Parents Ragged","publishDate":1714434140,"format":"standard","headTitle":"The New UC Berkeley Falcon Chicks Are Running Their Parents Ragged | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For eight years now, Bay Area bird nerds have been keeping track of the mating habits of Annie, a feisty peregrine falcon who nests on top of UC Berkeley’s campanile. What originally started as a straight-forward ornithological study has, in the last few years, also managed to attract legions of students and casual observers. This is thanks to (a) the \u003ca href=\"https://calfalcons.berkeley.edu/\">Cal Falcons\u003c/a> crew who film Annie’s every move and (b) the fact that \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\">Annie’s love life has been the stuff of soap opera\u003c/a> for the past two years.\u003c/p>\n\u003cp>Don’t believe us?\u003c/p>\n\u003cp>[aside postid='arts_13927720']For six years, Annie was paired with Grinnell, a faithful little fella with whom she had 15 chicks. In late 2021, when Grinnell was in the hospital, Annie came very close to having an affair with an interloper, then changed her mind at the last minute. (Phew!) Then, after Grinnell was hit by a car and killed (nooo!) in 2022, Annie roped in \u003ca href=\"https://www.kqed.org/arts/13912098/berkeley-peregrine-falcons-annie-and-grinnell-hatching-hatchlings-new-babies\">a new stepdad named Alden\u003c/a> to help her raise Grinnell’s last two babies. (Thank heavens!) Alden stuck around for just seven months before being replaced by Lou, who \u003ca href=\"https://www.kqed.org/arts/13927659/uc-berkeley-cal-falcons-campanile-annie-lou-chicks-hatch-day\">Annie had three chicks with last year\u003c/a>. (Get it, Annie!) Then, when Lou disappeared in January (dun-dun-duuun!) Annie paired up with her latest beau, Archie.\u003c/p>\n\u003cp>(Side note: Clearly, Annie is a 10 in the peregrine falcon world.)\u003c/p>\n\u003cp>Earlier this month, Annie and Archie hatched four babies in their gravel nest — a record number of chicks for Annie to be taking care of at once. And it seems the sheer number of mouths to feed has softened her approach to parenting. In previous seasons, Annie has been keen to do the bulk of chick-feeding herself, booting her mates out of the way so she can drop scraps of meat into her offspring’s tiny screaming beaks all on her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On April 29, however, all that changed. For the first time, Annie shared feeding duties with Archie in an attempt to get her adorable fluff balls to quit squealing — something they do all the live long day at this age. The “Cal Falcon Cam” caught the magical moments when Annie finally admitted defeat and let Archie assist. You can watch it in full below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uixJNLcWkws\u003c/p>\n\u003cp>Until 1999, peregrine falcons were listed as an endangered species. It’s thanks to tenacious moms like Annie, helpful dads like Archie and human protectors like the Cal Falcons folks that the species is now in recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can monitor the progress of Annie’s 19th, 20th, 21st and 22nd chicks on \u003ca href=\"https://www.youtube.com/@calfalcons\">YouTube\u003c/a>, \u003ca href=\"https://www.instagram.com/Cal_Falcons\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/CalFalconCam\">X\u003c/a> and \u003ca href=\"https://www.facebook.com/CalFalconCam\">Facebook\u003c/a>. You can also \u003ca href=\"https://give.berkeley.edu/fund/FH5929000\">donate to the Cal Falcons Fund\u003c/a> to ensure this soap opera keeps running for years to come.\u003c/p>\n\n","blocks":[],"excerpt":"Annie the falcon hatched four new chicks. She's now tired enough to let dad Archie help with feedings.","status":"publish","parent":0,"modified":1714435188,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":476},"headData":{"title":"UC Berkeley Falcon Chicks Tire Out Their Famous Mom, Annie | KQED","description":"Annie the falcon hatched four new chicks. She's now tired enough to let dad Archie help with feedings.","ogTitle":"The New UC Berkeley Falcon Chicks are Running Their Parents Ragged","ogDescription":"","ogImgId":"","twTitle":"The New UC Berkeley Falcon Chicks are Running Their Parents Ragged","twDescription":"","twImgId":"","socialTitle":"UC Berkeley Falcon Chicks Tire Out Their Famous Mom, Annie %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The New UC Berkeley Falcon Chicks Are Running Their Parents Ragged","datePublished":"2024-04-29T23:42:20.000Z","dateModified":"2024-04-29T23:59:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956807","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956807/uc-berkeley-falcons-new-chicks-2024-annie-archie-campanile","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For eight years now, Bay Area bird nerds have been keeping track of the mating habits of Annie, a feisty peregrine falcon who nests on top of UC Berkeley’s campanile. What originally started as a straight-forward ornithological study has, in the last few years, also managed to attract legions of students and casual observers. This is thanks to (a) the \u003ca href=\"https://calfalcons.berkeley.edu/\">Cal Falcons\u003c/a> crew who film Annie’s every move and (b) the fact that \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\">Annie’s love life has been the stuff of soap opera\u003c/a> for the past two years.\u003c/p>\n\u003cp>Don’t believe us?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927720","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For six years, Annie was paired with Grinnell, a faithful little fella with whom she had 15 chicks. In late 2021, when Grinnell was in the hospital, Annie came very close to having an affair with an interloper, then changed her mind at the last minute. (Phew!) Then, after Grinnell was hit by a car and killed (nooo!) in 2022, Annie roped in \u003ca href=\"https://www.kqed.org/arts/13912098/berkeley-peregrine-falcons-annie-and-grinnell-hatching-hatchlings-new-babies\">a new stepdad named Alden\u003c/a> to help her raise Grinnell’s last two babies. (Thank heavens!) Alden stuck around for just seven months before being replaced by Lou, who \u003ca href=\"https://www.kqed.org/arts/13927659/uc-berkeley-cal-falcons-campanile-annie-lou-chicks-hatch-day\">Annie had three chicks with last year\u003c/a>. (Get it, Annie!) Then, when Lou disappeared in January (dun-dun-duuun!) Annie paired up with her latest beau, Archie.\u003c/p>\n\u003cp>(Side note: Clearly, Annie is a 10 in the peregrine falcon world.)\u003c/p>\n\u003cp>Earlier this month, Annie and Archie hatched four babies in their gravel nest — a record number of chicks for Annie to be taking care of at once. And it seems the sheer number of mouths to feed has softened her approach to parenting. In previous seasons, Annie has been keen to do the bulk of chick-feeding herself, booting her mates out of the way so she can drop scraps of meat into her offspring’s tiny screaming beaks all on her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On April 29, however, all that changed. For the first time, Annie shared feeding duties with Archie in an attempt to get her adorable fluff balls to quit squealing — something they do all the live long day at this age. The “Cal Falcon Cam” caught the magical moments when Annie finally admitted defeat and let Archie assist. You can watch it in full below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uixJNLcWkws'\n title='//www.youtube.com/embed/uixJNLcWkws'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until 1999, peregrine falcons were listed as an endangered species. It’s thanks to tenacious moms like Annie, helpful dads like Archie and human protectors like the Cal Falcons folks that the species is now in recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can monitor the progress of Annie’s 19th, 20th, 21st and 22nd chicks on \u003ca href=\"https://www.youtube.com/@calfalcons\">YouTube\u003c/a>, \u003ca href=\"https://www.instagram.com/Cal_Falcons\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/CalFalconCam\">X\u003c/a> and \u003ca href=\"https://www.facebook.com/CalFalconCam\">Facebook\u003c/a>. You can also \u003ca href=\"https://give.berkeley.edu/fund/FH5929000\">donate to the Cal Falcons Fund\u003c/a> to ensure this soap opera keeps running for years to come.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956807/uc-berkeley-falcons-new-chicks-2024-annie-archie-campanile","authors":["11242"],"categories":["arts_1","arts_11615"],"tags":["arts_9124","arts_16385","arts_10278","arts_21829","arts_5878"],"featImg":"arts_13956819","label":"arts"},"arts_13957227":{"type":"posts","id":"arts_13957227","meta":{"index":"posts_1591205157","site":"arts","id":"13957227","found":true},"guestAuthors":[],"slug":"gary-floyd-san-francisco-queer-punk-iconoclast-has-died","title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","publishDate":1714774495,"format":"standard","headTitle":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","blocks":[],"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","status":"publish","parent":0,"modified":1714775102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","datePublished":"2024-05-03T22:14:55.000Z","dateModified":"2024-05-03T22:25:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957227","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13956683":{"type":"posts","id":"arts_13956683","meta":{"index":"posts_1591205157","site":"arts","id":"13956683","found":true},"guestAuthors":[],"slug":"late-night-filipino-food-24-hour-cafe-colma-lucky-chances","title":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","publishDate":1714084178,"format":"aside","headTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955884,arts_13956218,arts_13953224']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","status":"publish","parent":0,"modified":1714084560,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":999},"headData":{"title":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino | KQED","description":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","ogTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","ogDescription":"","ogImgId":"","twTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","twDescription":"","twImgId":"","socialTitle":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","datePublished":"2024-04-25T22:29:38.000Z","dateModified":"2024-04-25T22:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13956683","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955884,arts_13956218,arts_13953224","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","authors":["11743","11907"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_14183","arts_1297","arts_8805","arts_21928"],"featImg":"arts_13956689","label":"source_arts_13956683"},"arts_13956839":{"type":"posts","id":"arts_13956839","meta":{"index":"posts_1591205157","site":"arts","id":"13956839","found":true},"guestAuthors":[],"slug":"dj-d-sharp","title":"D Sharp: The DJ with Four NBA Championship Rings","publishDate":1714644031,"format":"audio","headTitle":"D Sharp: The DJ with Four NBA Championship Rings | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"DJ D Sharp talks about spinning for Golden State Warriors games while building a legacy for his family.","status":"publish","parent":0,"modified":1714676977,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":85,"wordCount":3938},"headData":{"title":"D Sharp: The DJ with Four NBA Championship Rings | KQED","description":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","schema":{"@context":"http://schema.org","@type":"Article","headline":"D Sharp: The DJ with Four NBA Championship Rings","datePublished":"2024-05-02T10:00:31.000Z","dateModified":"2024-05-02T19:09:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7887334509.mp3?updated=1714612024","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956839/dj-d-sharp","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956839/dj-d-sharp","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_69","arts_13238"],"tags":["arts_5786","arts_1331","arts_2852","arts_831","arts_1143","arts_3298"],"featImg":"arts_13956840","label":"arts_8720"},"arts_13939767":{"type":"posts","id":"arts_13939767","meta":{"index":"posts_1591205157","site":"arts","id":"13939767","found":true},"guestAuthors":[],"slug":"peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","title":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s","publishDate":1703782821,"format":"standard","headTitle":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s | KQED","labelTerm":{},"content":"\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]P[/dropcap]eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, \u003ca href=\"https://www.stonesthrow.com/\">Stones Throw\u003c/a>, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_nF0-WLXv4osbSzzBa2eRbCzGUClaGhu_Q\">My Vinyl Weighs a Ton\u003c/a>\u003c/em> still goes hard. \u003c/p>\n\u003cp>Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (\u003ca href=\"https://needletothegroove.net/\">Needle to the Groove Records\u003c/a>, \u003cem>\u003ca href=\"https://dadbodrappod.com/\">Dad Bod Rap Pod\u003c/a>\u003c/em>) has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13939819\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg\" alt=\"\" width=\"1920\" height=\"1534\" class=\"size-full wp-image-13939819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1536x1227.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With a Planet Patrol 12” single at friend Steve’s house, Christmas 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Ma:\u003c/strong> What was your musical experience growing up in San Jose?\u003c/p>\n\u003cp>\u003cstrong>Peanut Butter Wolf:\u003c/strong> My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, \u003cem>The Sound of Music\u003c/em>, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when \u003cem>Saturday Night Fever\u003c/em> came out, I was hooked on that sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did. \u003c/p>\n\u003cfigure id=\"attachment_13939817\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg\" alt=\"\" width=\"1920\" height=\"1790\" class=\"size-full wp-image-13939817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-800x746.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1020x951.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1536x1432.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-grade teacher Mr. Bowman, who introduced Chris to funk, soul, and disco in 1977. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?\u003c/strong>\u003c/p>\n\u003cp>It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we \u003cem>really\u003c/em> liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well. \u003c/p>\n\u003cp>[aside postID='arts_13923938']Movies like \u003cem>Breakin’\u003c/em>, \u003cem>Beat Street\u003c/em>, and \u003cem>Wild Style\u003c/em> were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like \u003cem>Magic Number Video\u003c/em> with Isaac Stevenson and \u003cem>Night Flight\u003c/em>, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of \u003cem>Graffiti Rock\u003c/em> came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).\u003c/p>\n\u003cfigure id=\"attachment_13939818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13939818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Listening to records at his friend Steve’s house. Christmas, 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your main mode for discovering music in a pre-internet era? \u003c/strong>\u003c/p>\n\u003cp>In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings. \u003c/p>\n\u003cfigure id=\"attachment_13939835\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13939835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Star Records shopping bag. Year unknown. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.\u003c/strong>\u003c/p>\n\u003cp>This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound. \u003c/p>\n\u003cp>[aside postID='arts_13927349']\u003cstrong>Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?\u003c/strong>\u003c/p>\n\u003cp>I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”\u003c/p>\n\u003cfigure id=\"attachment_13939821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg\" alt=\"\" width=\"1920\" height=\"1471\" class=\"size-full wp-image-13939821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A doodle of Chris by his high school classmate Rick Gray. Piedmont Hills High School, 1985. \u003ccite>(Illustration by Rick Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?\u003c/strong>\u003c/p>\n\u003cp>Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RiU_ysKjoyc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.\u003c/strong>\u003c/p>\n\u003cp>Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about. \u003c/p>\n\u003cp>Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the \u003ca href=\"https://www.youtube.com/watch?v=0JzDYv4VBYk\">Bass Creator song on a compilation I did\u003c/a>. But Jonathan is super prolific. He has hundreds and hundreds of songs.\u003c/p>\n\u003cfigure id=\"attachment_13939822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg\" alt=\"\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13939822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Cut and MC Cool Breeze in the back of a Suzuki Samurai on the way to a performance, 1986. \u003ccite>(Dave Gatt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.\u003c/strong> \u003c/p>\n\u003cp>So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze. \u003c/p>\n\u003cp>We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.\u003c/p>\n\u003cp>Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide. \u003c/p>\n\u003cp>[aside postID='arts_13937489']\u003cstrong>The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?\u003c/strong>\u003c/p>\n\u003cp>So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.\u003c/p>\n\u003cp>[aside postID='arts_13924224']\u003cstrong>San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?\u003c/strong>\u003c/p>\n\u003cp>Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence. \u003c/p>\n\u003cp>\u003cstrong>Did you ever hear that \u003ca href=\"https://www.youtube.com/watch?v=mxMCbtm4w78&list=OLAK5uy_ljXD8Mjs94cRT2cM-5XfD3FwpkpG5lges\">Raised By Seuss reissue from a few years ago\u003c/a>? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly. \u003c/strong>\u003c/p>\n\u003cp>Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For \u003ca href=\"https://www.youtube.com/watch?v=j9fk9Hw5iNc\">one of the songs I did with them\u003c/a>, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFEjqGsn7dY\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.\u003c/strong>\u003c/p>\n\u003cp>People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the \u003cem>Criminal Minded\u003c/em> album, and even Eric B. & Rakim’s \u003cem>Paid In Full\u003c/em>, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle. \u003c/p>\n\u003cp>[aside postID='arts_13936387']I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released \u003ca href=\"https://www.youtube.com/watch?v=2q-DLOE0MjI\">that tape\u003c/a>, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it. \u003c/p>\n\u003cp>\u003cstrong>One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?\u003c/strong> \u003c/p>\n\u003cp>Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2aLmQ5tP3hg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.\u003c/strong> \u003c/p>\n\u003cp>“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch. \u003c/p>\n\u003cp>[aside postID='arts_13935467']Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger. \u003c/p>\n\u003cp>It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.\u003c/p>\n\u003cfigure id=\"attachment_13939826\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg\" alt=\"\" width=\"1923\" height=\"1920\" class=\"size-full wp-image-13939826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1920x1917.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">‘Peanut Butter Breaks,’ a self-released 1994 instrumental LP, was funded by San Jose Latin freestyle label Upstairs Records and distributed by San Francisco rare groove reissue label Ubiquity Records. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Styles was also part of the group \u003ca href=\"https://www.youtube.com/watch?v=_PRN4IPWDko\">Third Sight\u003c/a> when they were active here in San Jose. What do you remember about them when they dropped?\u003c/strong>\u003c/p>\n\u003cp>I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records. \u003c/p>\n\u003cp>Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=h0cckKamCtg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record \u003cem>Peanut Butter Breaks \u003c/em>and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed. \u003c/p>\n\u003cfigure id=\"attachment_13939827\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg\" alt=\"\" width=\"1495\" height=\"1920\" class=\"size-full wp-image-13939827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1196x1536.jpg 1196w\" sizes=\"(max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">First round of Stones Throw logos submitted by Matthew Clark, 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw. \u003c/strong>\u003c/p>\n\u003cp>I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP \u003cem>Step On Our Egos\u003c/em>, then later on \u003cem>My Vinyl Weighs A Ton\u003c/em> along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.\u003c/p>\n\u003cfigure id=\"attachment_13939824\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg\" alt=\"\" width=\"1920\" height=\"1948\" class=\"size-full wp-image-13939824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1514x1536.jpg 1514w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First production on vinyl: Lyrical Prophecy, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?\u003c/strong>\u003c/p>\n\u003cp>I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.\u003c/p>\n\u003cp>So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “\u003ca href=\"https://www.youtube.com/watch?v=z2_hStmncxw\">You Can’t Swing This\u003c/a>,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.\u003c/p>\n\u003cfigure id=\"attachment_13939830\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13939830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf by the San Jose train tracks, 1991. \u003ccite>(Theresa Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?\u003c/strong>\u003c/p>\n\u003cp>We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on \u003cem>In Living Color\u003c/em>, \u003cem>Rap City\u003c/em>, \u003cem>Yo! MTV Raps\u003c/em> and \u003cem>The Arsenio Hall Show\u003c/em>, get written up in \u003cem>The Source\u003c/em>,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called \u003cem>Dance Music Report\u003c/em>, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s \u003cem>In Control\u003c/em> by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging. \u003c/p>\n\u003cp>There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma \u003cem>also\u003c/em> had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.\u003c/p>\n\u003cfigure id=\"attachment_13939833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg\" alt=\"\" width=\"1920\" height=\"1345\" class=\"size-full wp-image-13939833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1536x1076.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charizma, Peanut Butter Wolf’s dad, Charizma’s dad and Peanut Butter Wolf at Charizma’s house, 1992. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you know about Charizma’s group, II Def II Touch, before you guys linked?\u003c/strong> \u003c/p>\n\u003cp>I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think. \u003c/p>\n\u003cfigure id=\"attachment_13939831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg\" alt=\"\" width=\"1920\" height=\"1389\" class=\"size-full wp-image-13939831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1536x1111.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Chris Cut’s first demo, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the recording process like? Did you guys have similar taste in other artists?\u003c/strong>\u003c/p>\n\u003cp>Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.\u003c/p>\n\u003cfigure id=\"attachment_13939825\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13939825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf’s first and only German tour as a group in 1992. With Money B, Hi-C, and Hollywood Records A&R Casual T. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.\u003c/strong>\u003c/p>\n\u003cp>In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.\u003c/p>\n\u003cp>[aside postID='arts_13933590']\u003cstrong>You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.\u003c/strong>\u003c/p>\n\u003cp>In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried \u003cem>Ultimate Breaks & Beats\u003c/em>, and that was a huge deal. But yeah, overall, Star Records was the best.\u003c/p>\n\u003cfigure id=\"attachment_13939820\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg\" alt=\"\" width=\"1920\" height=\"1810\" class=\"size-full wp-image-13939820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--800x754.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1020x962.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--768x724.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1536x1448.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An electro mixtape made by Chris in 1984. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked? \u003c/strong>\u003c/p>\n\u003cp>I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.\u003c/p>\n\u003cp>Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.\u003c/p>\n\u003cfigure id=\"attachment_13939828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg\" alt=\"\" width=\"1920\" height=\"1395\" class=\"size-full wp-image-13939828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second round of logos by Matthew Clark, including the one chosen to be ‘official,’ 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?\u003c/strong>\u003c/p>\n\u003cp>San Jose was \u003cem>not\u003c/em> a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The DJ, producer and label owner discusses San Jose's earliest hip-hop activity — and the dedication required in those years to be part of it.","status":"publish","parent":0,"modified":1705002944,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":67,"wordCount":7040},"headData":{"title":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s | KQED","description":"The DJ, producer and label owner discusses San Jose's earliest hip-hop activity — and the dedication required in those years to be part of it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s","datePublished":"2023-12-28T17:00:21.000Z","dateModified":"2024-01-11T19:55:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"authorsData":[{"type":"authors","id":"byline_arts_13939767","meta":{"override":true},"slug":"byline_arts_13939767","name":"David Ma","isLoading":false}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWneg-3-1020x702.jpg","width":1020,"height":702,"mimeType":"image/jpeg"},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWneg-3-1020x702.jpg","width":1020,"height":702,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["bay area hip-hop","dj shadow","featured-arts","Hip Hop","San Jose","tmw-latest","turntablism"]}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"nprByline":"David Ma","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, \u003ca href=\"https://www.stonesthrow.com/\">Stones Throw\u003c/a>, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_nF0-WLXv4osbSzzBa2eRbCzGUClaGhu_Q\">My Vinyl Weighs a Ton\u003c/a>\u003c/em> still goes hard. \u003c/p>\n\u003cp>Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (\u003ca href=\"https://needletothegroove.net/\">Needle to the Groove Records\u003c/a>, \u003cem>\u003ca href=\"https://dadbodrappod.com/\">Dad Bod Rap Pod\u003c/a>\u003c/em>) has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13939819\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg\" alt=\"\" width=\"1920\" height=\"1534\" class=\"size-full wp-image-13939819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1536x1227.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With a Planet Patrol 12” single at friend Steve’s house, Christmas 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Ma:\u003c/strong> What was your musical experience growing up in San Jose?\u003c/p>\n\u003cp>\u003cstrong>Peanut Butter Wolf:\u003c/strong> My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, \u003cem>The Sound of Music\u003c/em>, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when \u003cem>Saturday Night Fever\u003c/em> came out, I was hooked on that sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did. \u003c/p>\n\u003cfigure id=\"attachment_13939817\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg\" alt=\"\" width=\"1920\" height=\"1790\" class=\"size-full wp-image-13939817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-800x746.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1020x951.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1536x1432.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-grade teacher Mr. Bowman, who introduced Chris to funk, soul, and disco in 1977. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?\u003c/strong>\u003c/p>\n\u003cp>It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we \u003cem>really\u003c/em> liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Movies like \u003cem>Breakin’\u003c/em>, \u003cem>Beat Street\u003c/em>, and \u003cem>Wild Style\u003c/em> were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like \u003cem>Magic Number Video\u003c/em> with Isaac Stevenson and \u003cem>Night Flight\u003c/em>, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of \u003cem>Graffiti Rock\u003c/em> came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).\u003c/p>\n\u003cfigure id=\"attachment_13939818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13939818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Listening to records at his friend Steve’s house. Christmas, 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your main mode for discovering music in a pre-internet era? \u003c/strong>\u003c/p>\n\u003cp>In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings. \u003c/p>\n\u003cfigure id=\"attachment_13939835\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13939835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Star Records shopping bag. Year unknown. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.\u003c/strong>\u003c/p>\n\u003cp>This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?\u003c/strong>\u003c/p>\n\u003cp>I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”\u003c/p>\n\u003cfigure id=\"attachment_13939821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg\" alt=\"\" width=\"1920\" height=\"1471\" class=\"size-full wp-image-13939821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A doodle of Chris by his high school classmate Rick Gray. Piedmont Hills High School, 1985. \u003ccite>(Illustration by Rick Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?\u003c/strong>\u003c/p>\n\u003cp>Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RiU_ysKjoyc'\n title='//www.youtube.com/embed/RiU_ysKjoyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.\u003c/strong>\u003c/p>\n\u003cp>Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about. \u003c/p>\n\u003cp>Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the \u003ca href=\"https://www.youtube.com/watch?v=0JzDYv4VBYk\">Bass Creator song on a compilation I did\u003c/a>. But Jonathan is super prolific. He has hundreds and hundreds of songs.\u003c/p>\n\u003cfigure id=\"attachment_13939822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg\" alt=\"\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13939822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Cut and MC Cool Breeze in the back of a Suzuki Samurai on the way to a performance, 1986. \u003ccite>(Dave Gatt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.\u003c/strong> \u003c/p>\n\u003cp>So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze. \u003c/p>\n\u003cp>We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.\u003c/p>\n\u003cp>Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937489","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?\u003c/strong>\u003c/p>\n\u003cp>So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924224","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?\u003c/strong>\u003c/p>\n\u003cp>Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence. \u003c/p>\n\u003cp>\u003cstrong>Did you ever hear that \u003ca href=\"https://www.youtube.com/watch?v=mxMCbtm4w78&list=OLAK5uy_ljXD8Mjs94cRT2cM-5XfD3FwpkpG5lges\">Raised By Seuss reissue from a few years ago\u003c/a>? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly. \u003c/strong>\u003c/p>\n\u003cp>Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For \u003ca href=\"https://www.youtube.com/watch?v=j9fk9Hw5iNc\">one of the songs I did with them\u003c/a>, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cFEjqGsn7dY'\n title='//www.youtube.com/embed/cFEjqGsn7dY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.\u003c/strong>\u003c/p>\n\u003cp>People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the \u003cem>Criminal Minded\u003c/em> album, and even Eric B. & Rakim’s \u003cem>Paid In Full\u003c/em>, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936387","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released \u003ca href=\"https://www.youtube.com/watch?v=2q-DLOE0MjI\">that tape\u003c/a>, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it. \u003c/p>\n\u003cp>\u003cstrong>One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?\u003c/strong> \u003c/p>\n\u003cp>Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2aLmQ5tP3hg'\n title='//www.youtube.com/embed/2aLmQ5tP3hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.\u003c/strong> \u003c/p>\n\u003cp>“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935467","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger. \u003c/p>\n\u003cp>It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.\u003c/p>\n\u003cfigure id=\"attachment_13939826\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg\" alt=\"\" width=\"1923\" height=\"1920\" class=\"size-full wp-image-13939826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1920x1917.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">‘Peanut Butter Breaks,’ a self-released 1994 instrumental LP, was funded by San Jose Latin freestyle label Upstairs Records and distributed by San Francisco rare groove reissue label Ubiquity Records. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Styles was also part of the group \u003ca href=\"https://www.youtube.com/watch?v=_PRN4IPWDko\">Third Sight\u003c/a> when they were active here in San Jose. What do you remember about them when they dropped?\u003c/strong>\u003c/p>\n\u003cp>I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records. \u003c/p>\n\u003cp>Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h0cckKamCtg'\n title='//www.youtube.com/embed/h0cckKamCtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record \u003cem>Peanut Butter Breaks \u003c/em>and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed. \u003c/p>\n\u003cfigure id=\"attachment_13939827\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg\" alt=\"\" width=\"1495\" height=\"1920\" class=\"size-full wp-image-13939827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1196x1536.jpg 1196w\" sizes=\"(max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">First round of Stones Throw logos submitted by Matthew Clark, 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw. \u003c/strong>\u003c/p>\n\u003cp>I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP \u003cem>Step On Our Egos\u003c/em>, then later on \u003cem>My Vinyl Weighs A Ton\u003c/em> along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.\u003c/p>\n\u003cfigure id=\"attachment_13939824\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg\" alt=\"\" width=\"1920\" height=\"1948\" class=\"size-full wp-image-13939824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1514x1536.jpg 1514w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First production on vinyl: Lyrical Prophecy, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?\u003c/strong>\u003c/p>\n\u003cp>I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.\u003c/p>\n\u003cp>So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “\u003ca href=\"https://www.youtube.com/watch?v=z2_hStmncxw\">You Can’t Swing This\u003c/a>,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.\u003c/p>\n\u003cfigure id=\"attachment_13939830\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13939830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf by the San Jose train tracks, 1991. \u003ccite>(Theresa Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?\u003c/strong>\u003c/p>\n\u003cp>We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on \u003cem>In Living Color\u003c/em>, \u003cem>Rap City\u003c/em>, \u003cem>Yo! MTV Raps\u003c/em> and \u003cem>The Arsenio Hall Show\u003c/em>, get written up in \u003cem>The Source\u003c/em>,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called \u003cem>Dance Music Report\u003c/em>, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s \u003cem>In Control\u003c/em> by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging. \u003c/p>\n\u003cp>There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma \u003cem>also\u003c/em> had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.\u003c/p>\n\u003cfigure id=\"attachment_13939833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg\" alt=\"\" width=\"1920\" height=\"1345\" class=\"size-full wp-image-13939833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1536x1076.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charizma, Peanut Butter Wolf’s dad, Charizma’s dad and Peanut Butter Wolf at Charizma’s house, 1992. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you know about Charizma’s group, II Def II Touch, before you guys linked?\u003c/strong> \u003c/p>\n\u003cp>I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think. \u003c/p>\n\u003cfigure id=\"attachment_13939831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg\" alt=\"\" width=\"1920\" height=\"1389\" class=\"size-full wp-image-13939831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1536x1111.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Chris Cut’s first demo, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the recording process like? Did you guys have similar taste in other artists?\u003c/strong>\u003c/p>\n\u003cp>Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.\u003c/p>\n\u003cfigure id=\"attachment_13939825\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13939825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf’s first and only German tour as a group in 1992. With Money B, Hi-C, and Hollywood Records A&R Casual T. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.\u003c/strong>\u003c/p>\n\u003cp>In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933590","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.\u003c/strong>\u003c/p>\n\u003cp>In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried \u003cem>Ultimate Breaks & Beats\u003c/em>, and that was a huge deal. But yeah, overall, Star Records was the best.\u003c/p>\n\u003cfigure id=\"attachment_13939820\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg\" alt=\"\" width=\"1920\" height=\"1810\" class=\"size-full wp-image-13939820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--800x754.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1020x962.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--768x724.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1536x1448.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An electro mixtape made by Chris in 1984. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked? \u003c/strong>\u003c/p>\n\u003cp>I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.\u003c/p>\n\u003cp>Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.\u003c/p>\n\u003cfigure id=\"attachment_13939828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg\" alt=\"\" width=\"1920\" height=\"1395\" class=\"size-full wp-image-13939828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second round of logos by Matthew Clark, including the one chosen to be ‘official,’ 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?\u003c/strong>\u003c/p>\n\u003cp>San Jose was \u003cem>not\u003c/em> a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","authors":["byline_arts_13939767"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_21713","arts_10278","arts_831","arts_1084","arts_19347","arts_21711"],"featImg":"arts_13939829","label":"source_arts_13939767","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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