Editor’s note: This story is part of That’s My Word, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.
It’s a wintry January evening when Bas-1 brings me to Del the Funky Homosapien’s house in the East Bay. For much of the afternoon, Bas — the Oakland native who’s worked with Digital Underground and released his own solo records — has schooled me on the origins of the Bay Area hip-hop sound.
Bas lists numerous rappers from the ’80s, and not just Todd “Too Short” Shaw, the East Oakland rapper who famously hustled homemade cassette tapes. I’ve never heard most of the names Bas mentions: MC Chocolate Milk, Windell Baby Doll, Davy Def, Buddy Bean, Reggie Reg Rock Ski.ter, M.C. Tracy, Rock Master Fresh, Nic Nack, Kimmie Fresh, and the Acorn Crew with Grandmaster Fresh (a rapper later known as “DJ Daryl” Anderson, famed for producing tracks like 415’s “Side Show” and 2Pac’s “Keep Ya Head Up”).
Many of these early Bay Area rappers never put out a commercially available record. Instead, their work is mostly confined to locally distributed cassette tapes — collectors call them “gray tapes” — that are now nearly impossible to find. They publicly broadcasted these tapes throughout neighborhoods, utilizing boomboxes and car stereos as well as stereos at house parties. “None of them sound like Too Short,” says Bas. “Some of these people didn’t put out recordings, but they were known.”
Throughout the 1980s, Bay Area hip-hop was an artistic movement struggling for a distinct identity. The first half of the decade was defined by street dance and aerosol art as much as rap and DJing. But as local youth began to absorb the sounds emanating from national hotspots like New York, they created a distinctive style all their own — one that would make a global impact in the years to come.
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At Del’s house, Bas queues up an extraordinary live video clip of Mac Mill, Emperor E, and DJ Anthony “K-os” Bryant performing at Festival at the Lake, a now-defunct annual event held at Lake Merritt, in 1988. (Alex “Naru” Reece, who organized the showcase where Mac Mill performed, clarified in a follow-up conversation that it didn’t happen during Festival at the Lake. He also says the showcase was filmed in 1986 for a 1988 video compilation.)
Mac Mill and Emperor E go back and forth, trading sound effects and dense Oakland slang as K-os cuts and scratches copies of Long Island band Original Concept’s deathless bass classic, “Knowledge Me.” Bas praises Mac Mill’s unusual “Arabian” style, which the latter deployed nearly a decade later with the 1995 single “Arabian Hump.”
Then, Bas-1 calls Chris “CJ Flash” Jourdan, an OG who worked with Timex Social Club, the Berkeley teen band whose 1986 electro-funk classic, “Rumors,” represented the first national breakthrough for Bay Area hip-hop culture. As Bas broadcasts CJ Flash’s voice from his phone through Del’s stereo equipment, CJ Flash spends the next hour or so describing a fledging scene where poppers and boogaloo dancers, not rappers or DJs, were the prime attractions.
These ensembles drew from a street-dance tradition that dates back decades. Their kinetic performances ignited crowds at high schools, house parties, and public spaces like Justin Herman Plaza and Union Square in San Francisco and UC Berkeley’s Sproul Plaza. Battles even took place on the street, with crews traveling to different neighborhoods around the region to seek out rivals. “You could meet with people on their turf and get down, and hopefully not get thumped in the process,” says CJ Flash. Many Bay Area hip-hop pioneers got their start in dance crews, including Club Nouveau’s Jay King (who pop-locked with The Unknowns), DJ King Tech (who was known as Wizard, and danced with Master City Breakers), and Flash himself (who performed with UFO).
By contrast, rapping was a relatively new and undeveloped skill, the lowest element on the hip-hop totem pole. “Anybody could rap. Anybody could say a bunch of basic rhyme words with no style and flavor,” says Bas, noting as an aside that “most folks couldn’t understand the lyrics anyway.”
How is a discussion about street dancers connected to an exploration of the Bay Area hip-hop sound? It’s important to understand the conditions under which the genre emerged locally.
Turntables, Casios and Homemade Tapes
As KQED’s Eric Arnold explains in “The Bay Area Was Hip-Hop Before There Was Hip-Hop,” foundational elements such as spoken word, funk, and rhythm & blues existed locally well before New Jersey trio Sugarhill Gang arrived with “Rapper’s Delight” in the fall of 1979.
At the same time, the Bay Area was not the Bronx, where breakbeat culture catalyzed and fermented. Bronx DJs, MCs and B-boys like Kool Herc, Grandmaster Flash, Afrika Bambaataa, Grandmaster Caz, the Rock Steady Crew and many others gained renown among mid-’70s New York youth long before “Rapper’s Delight.” By contrast, as CJ Flash explains, it took much of the 1980s for Bay Area youth to develop the cadences and rhythms we now associate with modern rap.
Back then, enterprising musicians couldn’t purchase studio software and distribute their own music on an internet platform like Soundcloud. Recording equipment was expensive. An unsigned artist needed the financial and business expertise to manufacture vinyl and cassettes with artwork, much less convince record stores like Leopold’s Records in Berkeley to carry them. (Recordable CD-Rs weren’t widely used until the 1990s.)
This helps explain why so many rappers utilized turntables and Casio keyboards, and then recorded their songs using the microphone input on relatively cheap stereo equipment. Captured on recordable cassettes like Maxell and TDK, some of these “gray tapes” simply had stickers with handwritten titles. More often, they weren’t labeled at all.
In those days, Too Short was an outlier, a Fremont High School student who canvassed East Oakland spots like Arroyo Park, selling copies of “Game Raps” at a few dollars a pop. Since Short was originally from Los Angeles, he relied on rap partner Tony “Freddy B” Adams to show him around the Town. The duo made customized tapes for local drug dealers and players in the city’s nightlife — now known as “special request” tapes — shouting out the customers’ names in their raps.
“Short was a hustler,” says CJ Flash. “He had a style of telling stories that was so outlandish and so funny that word got around.” Short and Freddy B developed the trademark “Biiiiitch!” catchphrase, and Short has often said that he and Freddy B intended to get famous together. Unfortunately, Freddy B was in prison when Short released his landmark “Freaky Tales” tape in 1987. (Adams is now a minister at Mount Calvary Baptist Church in Fairfield.)
Others like Sir Quick Draw, Mac Mill, and Chief Naked Head (later known as Premo; he passed away in January of 2023) simply gave away their tapes or let friends copy or “dub” the originals. As Richmond rapper Magic Mike explained in a recent interview with Dregs One, dubs of his tracks circulated as widely as Germany. “It was more or less trying to make a name for yourself…you had to make a tape,” adds CJ Flash.
Most importantly, Bay Area hip-hop in the ’80s was a primordial soup of youngsters figuring out what the local sound would be. The answers wouldn’t arrive until near the end of the decade. “The Bay Area was behind,” says CJ Flash, comparing it to more advanced regions like Los Angeles, South Florida, and New York. “We never thought about radio.”
‘A Pivotal Moment’
Alex “Naru Kwina” Hence remembers the first time he heard the Sugarhill Gang’s “Rapper’s Delight” as a 14-year-old preparing to attend Oakland High School. “When the song went off, everybody ran outside, like, ‘Did you hear that song?!” he laughs, calling it one of the best moments of his life. “It was a pivotal moment, bro. We literally started rapping the song and trying to remember it.”
Naru called himself Sir Quick Draw, an alias inspired by Hanna-Barbera cartoon Quick Draw McGraw as well as the fact that, as a runner, “I was hella fast.” He took inspiration from Kurtis Blow, the Harlem rapper who scored major hits like 1980’s “The Breaks.” And Naru almost immediately began recording his voice on tape. His first original song was “The Caveman Rap,” which was inspired by Brooklyn rapper Jimmy Spicer’s 1980 single “Adventures of Super Rhyme.” Naru can still recite those verses from memory: Now people come and take a trip in time with me / Back to that sweet year one million B.C.
“I still got that old-school flavor, man,” he admits. “Hip-hop was more fun for me back then.”
But rap in the Bay Area didn’t take off right away. “Most people would rap other people’s songs. They’d just repeat what they heard on the radio,” says Naru. Aspiring MCs honed their craft by congregating at Eastmont Mall, “trying to impress the girls, and getting our names on our derby jackets.” And when Tom Tom Club’s 1981 hit “Genius of Love” dropped? “Everybody rapped over that joint, man. Too many people.”
It’s worth remembering that hip-hop was a phenomenon developed essentially by Black and Brown children. Rapping, pop-locking, spray-painting aerosol art on neighborhood walls, even DJing: These were youthful forms of play and creative expression.
Bas, who grew up in North Oakland, remembers popping and “roboting” at Pier 39 on Fisherman’s Wharf in the late ’70s as a child. “You have people like Ben [James] from Live Incorporated doing pantomime and roboting,” he says, noting one of the better-known dance crews. Dancers competed for attention and tips that they could spend on Snickers bars and arcade games. “Battle-wise, you had to have skill and talent to a certain caliber in order to truly be out on the Wharf or on Market [and Powell] in front of the cable cars,” he says.
Local newspaper stories focused on the emergence of hip-hop as a youth obsession. Enterprising teachers incorporated it into their lesson plans. On high-school campuses, fledgling DJs like Joseph Thomas “G.I. Joe” Simms Jr. at El Cerrito High School and groups like the Devastating Four proliferated. At house parties, mobile DJ crews spun the latest electro, boogie-funk, and rap hits.
Gatherings at schools, churches, and community centers typically reserved a few minutes for fledgling local rap and dance crews to perform. This was also the era of the Reagan Administration’s “Just Say No” campaign, and kids were often asked to help spread an anti-drug message through raps. “Inspired by rapping groups such as Sugar Hill, Run DMC, Jeckyl and Hyde and Mell (sic) and the Furious Five, teen-agers create their own raps mostly for fun and to bring attention to themselves,” read a June 29, 1985, story in the San Francisco Examiner.
In the first half of the decade, street dance remained a focal point. Double Dutch jump-rope competitions sponsored by McDonald’s drew thousands to Lincoln Square Center in Oakland. The San Francisco Street Breakers held a fundraising benefit, “Super Break Sunday,” at San Francisco’s Palace of Fine Arts in 1985.
Ironically, street dance “got played out” after the success of Hollywood movies like Beat Street and Breakin’, and rap music moved to the center of hip-hop culture. Quickening the process were concerts by Black music stars like the Fresh Festival, the first national hip-hop tour, with headliners Run-DMC at the Oakland Coliseum. Local radio tentatively began to experiment with rap, notably KMEL-FM and its mix DJs such as Michael Erickson and the late Cameron Paul.
“By 1985, there was this incredible scene in the South Bay,” says Adisa “The Bishop” Banjoko. As a teen DJ in San Bruno “who looked like Urkel,” he remembers traveling far and wide to buy records, from Creative Music Emporium in San Francisco to T’s Wauzi in Oakland. Meanwhile, nightclubs like Mothers and Studio 47 brought a fusion of hip-hop, freestyle and techno. “San Jose had underage hip-hop teenage clubs, and no other city had those,” he says. (Banjoko later became a rapper, a journalist, and now promotes jiu-jitsu, meditation and chess with his company 64 Blocks.)
Back in Oakland, Naru continued making tapes. “I come from a musical family. My cousin’s the Maestro” — a.k.a. producer Keenan Foster, who has worked with Too Short, Dru Down, and Askari X — “and a lot of my family sings. I got a drum machine, a little Yamaha keyboard. I would play my bass lines. We had double-cassette decks.” He collaborated with Taj “Turntable T” Tilghman, “who was dope on the turntables.” Turntable T eventually bought a Roland TR-808 drum machine, the instrument du jour for def beat MCs. “When that 808 came, that was it. Everyone loved that deck. Boom!”
“Gray tapes” that circulated weren’t the EP and album-length releases we’re familiar with today. Some tapes only had one song per side; or maybe just one song on one side, period. Artists were judged not only by their ability to rap engagingly for several minutes, but also to chop up a familiar beat like Whodini’s “Friends,” transforming it into something fresh and original; or even make rudimentary 808 beats. For example, Too Short drew attention for “rapping the longest,” as Bas explains, leading to songs that lasted eight or nine minutes.
“Those tapes were everywhere. Everyone was trying to see what was possible,” says Banjoko. In 1987, he began making raps under the name MC Most Ill. His first song was “Rhyme Junkie.” “The truth was, some of it was really cool but a lot of it actually also sucked, because [the art form] was brand new. … The quality control was not there.”
On August 18, 1984, the San Francisco Examiner published an article called “Rapping with Too-Short,” the first story on the 18-year-old prodigy. Pacific News Service journalist Anthony Adams called Short’s songs “preacher-like yarns over pre-recorded music,” and noted that one of them was about automaker John DeLorean, whose conviction for cocaine trafficking made national news. Short claimed he and his partner Freddy B sold over 2,000 tapes.
The Chronicle-Examiner also frequently interviewed Dominique “Lady D” DiPrima, a New York transplant and San Francisco State University student who rapped, sung, and organized events. DiPrima possessed a rich family pedigree — her father was the jazz writer Amiri Baraka, her mother the beat poet Diane DiPrima. In late 1984, KRON-TV recruited her to host Home Turf, a Saturday-afternoon program that became appointment viewing for local teens.
“Everyone had a crush on Dominique,” says Naru, giggling.
The First Bay Area Rap Record Opens the Floodgates
One of the under-acknowledged aspects of early hip-hop is the way elder Black musicians shepherded young artists into the recording industry.
The late Sylvia Robinson, who was inducted into the Rock & Roll Hall of Fame in 2022, initially emerged in the mid-’50s as one-half of Mickey & Sylvia, who scored a national hit with “Love Is Strange.” As a ’70s solo artist and producer, Robinson made slinky, Eartha Kitt-like erotic disco capers such as “Pillow Talk” and “Sweet Stuff.” After discovering hip-hop when she heard DJ Lovebug Starski at a party, Robinson formed Sugar Hill Records, and turned three rapping teens she found in New Jersey into its first act, the Sugarhill Gang.
This process of soul veterans working with young people resulted in independent 12” singles that mirrored — if not yet accurately capturing — the nascent rap sound at a time when big companies virtually ignored it. With his Mercury Records contract, Kurtis Blow was the only act with a major album deal. A handful of other pioneers like DJ Hollywood scored one-off 12” deals.
A similar process played out in the Bay Area.
The first Bay Area rap record is widely considered to be Phil “Motorcycle Mike” Lewis and the Rat Trap Band’s “Super Rat,” a 1981 boogie-funk single notoriously released by East Oakland heroin kingpin Milton “Mickey Mo” Moore’s Hodisk Records. The name “Hodisk” was a cheeky reference to his onetime side business as a pimp. (Moore has since reformed and is now a pastor in West Oakland.) In fact, Mickey Mo boasts in his 1996 autobiography The Man: The Life Story of a Drug Kingpin, “Hodisk Records became the first record company on the West Coast to release a rap record.” (The first L.A. rap record, Disco Daddy and Captain Rapp’s “The Gigolo Rapp,” was also released in 1981.)
Mickey Mo has another claim to rap lore: In 1980, he helped finance an Oakland Coliseum concert headlined by L.A. funk band War, with the Sugarhill Gang as a supporting act. Journalist Lee Hildebrand’s pre-concert interview with the Gang in the Oakland Tribune was the first mention of rap music in the local press. A second funk-rap novelty, Steve Walker’s “Tally Ho!,” also appeared in 1981. In 1983, San Francisco’s Debo & Brian released the electro-funk EP This Is It. The momentum had started.
“I had made this vow that I would never ever do anything having to do with rap,” laughs Claytoven Richardson. During his long career, the Berkeley-born, Oakland-raised Richardson worked with Aretha Franklin, Kenny G, Whitney Houston, Elton John, and Celine Dion. But in the early ’80s, he was best known as a singer, producer, and arranger with hot dancefloor jazz-funk bands like Bill Summers & Summers’ Heat. His anti-rap stance reflected the music industry at large in the 1980s. “Nobody had the foresight to see that it would morph and change and do the things that it’s done,” he says.
Still, Richardson couldn’t avoid the increasingly popular genre when he scored a production deal at Fantasy Records, the onetime Berkeley jazz label also known for innovative acts like Sylvester and Cybotron, as well as one-off singles generated by a “throw it against the wall and see if it sticks” philosophy.
One of the records Richardson produced in that anything-goes environment was Mighty Mouth’s satirical complaint, “I’m All Rapped Out.” (He wasn’t the only one annoyed over rap; perhaps out of wishful thinking, a 1985 San Francisco Chronicle article referred to the “fast-fading hip-hop scene.”) A vocalist named Lawrence Pittman didn’t show up for the session, so Richardson performed the lyrics himself. However, Pittman showed up to rap on Mighty Mouth’s second single, “The Roaches,” which parodied Whodini’s electro hit, “Freaks Come Out at Night.”
Other scattered local raps appeared between 1985 and 1986. Former boogaloo dancer Jay King, just home from a stint in the Air Force and splitting time between Sacramento and Vallejo, formed a group called Frost and released “Battle Beat.” His friends Denzil Foster & Thomas McElroy produced it, as well as another electro-rap track, Sorcerey’s “Woo Baby.” Pittsburg rapper James “Red Beat” Briggs issued “Freak City,” which was later remixed by N.W.A. co-founder Arabian Prince. And there was Rodney “Disco Alamo” Brown, from Richmond, whose 12” “The Task Force” is an early example of Bay Area rap chronicling street life.
Most importantly, Too Short’s rising buzz led to a deal with deep East Oakland entrepreneur Dean Hodges’ 75 Girls label. Released in 1985, the resulting Don’t Stop Rappin’ was the first official album by a local rapper. While fans of a certain age still treasure protean electro-funk tracks like “Girl” — which E-40 referenced on his 1998 hit, “Earl, That’s Yo Life” — the album couldn’t compare to his raunchy and wickedly hilarious “special request” tapes.
It was during this period that Naru finally got his chance in the studio. Since 1984, UC Berkeley station KALX-FM served as home to “Music for the People,” a Sunday-morning community affairs and music show hosted by the late Charles “Natty Prep” Douglass, as well as DJs like Billy “Jam” Kiernan (who also broadcast on San Francisco State University station KUSF-FM), David “Davey D” Cook, and funkster Rickey “The Uhuru Maggot” Vincent. When Naru won a 1986 rap contest hosted by Billy Jam on KALX, he earned a deal with Bay Wave Records, a local imprint distributed by Hollywood-based Macola Records. Richardson was hired to produce the session.
“[Quick Draw] was a great rapper. He had a lot of great lyrics and ideas,” says Richardson. On “Rapaholic,” Richardson and session engineer Michael Denten (who later worked with Spice 1 and E-40) accompanied Quick Draw’s dexterous and energetic raps with sharp-angled percussive edits and sound effects reminiscent of The Art of Noise and Mantronix.
“Respect to Claytoven,” says Naru, who not only continues to make music but also owns a company, Hip Learning, that promotes childhood education with rap. He wasn’t entirely satisfied with the “Rapaholic” experience: “They made the record sound hella more polished. It was [supposed to be] a little more underground than that.” However, he adds, “[Claytoven] taught us a lot in the studio about the mics they use and how to mix. It was a good experience.”
A Radio Breakthrough — And a Kid Named Hammer
As the trajectory of Bay Area hip-hop waxed and waned, three catalyzing moments brought the scene into focus.
The first was an R&B track. Timex Social Club’s “Rumors” captured the pulse of Bay Area youth culture, from Marcus Thompson and Alex Hill’s skittering electro-funk bass and drums to singer Michael Marshall’s distinctly regional accent and coy recitation of schoolyard gossip (“Did you hear the one about Michael? Some say he must be gay…”) Produced by Jay King and Denzil Foster and released on King’s Jay Records in February 1986, it mushroomed into a top ten Billboard pop hit and dominated radio all year.
But by the summer, Timex Social Club was falling apart and trading accusations with King over money and credit. The group’s only album Vicious Rumors — by that point it was just Michael Marshall — featured drum programming from CJ Flash and a shout-out to KALX’s Natty Prep, who helped break “Rumors” on his “Music and Life” show. Marshall retreated from the spotlight before re-emerging as the hook man on the Luniz’ 1995 smash “I Got 5 on It.”
After breaking with Timex Social Club, King formed a group called Jet Set and signed a deal with Warner Bros. Records. The group changed their name to Club Nouveau before debuting with the single “Jealousy.” A follow-up, the Bill Withers cover “Lean on Me,” went to number-one on the Billboard Hot 100, while Club Nouveau’s debut album Life, Love & Pain went platinum.
King’s growing stardom rippled across the Bay and reached Felton Pilate, the Vallejo keyboardist, singer, and producer best known as a driving force in Bay Area funk stars Con Funk Shun. The two had already worked together on King’s onetime rap group Frost; Pilate engineered that record. Pilate soon added one of King’s projects, Sacramento R&B/rap group New Choice, to a growing slate of projects he produced and engineered at his Felstar Studios.
Felstar Studios was the culmination of work he had begun while not touring and rehearsing with Con Funk Shun. At his home studio on Sandpiper Drive in Vallejo, Pilate helped assemble records for fledgling local artists. “I never thought of myself as just a studio,” he says, where he simply records his clients. “I have a little experience here. I’ve got several gold albums. Here, let me pass on some of this knowledge.” When asked if he considered himself a mentor, he demurs, even though that’s arguably what he was.
When Pilate opened Felstar Studios on Sonoma Boulevard, his trusted associate was James Earley, a young engineer whom he credits for adding a more contemporary sensibility to the Studios’ output. Among the locals who came to them were M.V.P., a family trio consisting of Earl Stevens, Danell Stevens, and Brandt Jones. Their 1988 12”, The Kings Men, also included Tanina Stevens and Angela Pressley, who called themselves Sugar ‘N’ Spice. The members of M.V.P. updated their stage names to E-40, D-Shot and B-Legit, added Tanina as Suga T, and evolved into The Click, arguably becoming the most famous rap group to emerge from Vallejo.
In 1986, Pilate and Earley both had solo deals at Berkeley’s Fantasy Records. It was there that Pilate met a former Oakland A’s batboy named Stanley “Holyghost Boy” Burrell through Fantasy Records producer Fred L. Pittman. “Fred would often hire me to do keyboard arrangements for him,” says Pilate. When Pittman asked him to play keys for Holyghost Boy, Pilate responded, “Hey Fred, why don’t you let me take the reins on this?”
As a classically trained jazz and classical musician, Pilate didn’t think much of rap, even though Con Funk Shun not only included a rap verse on a 1982 single, “Ain’t Nobody Baby”; but also made “Electric Lady,” a 1985 hit produced by Larry Smith of Whodini fame that landed in the top five of Billboard’s Black Singles chart. “Musically, I wasn’t a fan, but as a producer, I said, ‘I can do this,’” he says. “Like everyone else, Con Funk Shun wanted to be relevant, and rap was all over the radio.”
The tracks Burrell brought to Pilate consisted of him rapping over sparse Yamaha RX5 drum-machine parts. Pilate responded by going into “study mode.” He listened to the rap stuff that was getting airplay like Doug E. Fresh & the Get Fresh Crew. As a result, the skittering percussion on Burrell’s “Let’s Get It Started” is reminiscent of the go-go-inspired arrangements on Doug E. Fresh hits like “The Show” and “All the Way to Heaven.”
“My thing was to make it more music-driven than beat-driven,” says Pilate. In many cases, he simply “listened to what [Burrell] was talking about and wrote a straight R&B song underneath it.” He also gives credit to Earley, who helped refine the drum programming and brought “that younger ear” to the project. They incorporated stock horn stabs from a battery of Juno, Roland, and Yamaha drum machines. Meanwhile, Kent “The Lone Mixer” Wilson and Bryant “D.J. Redeemed” Marable added rhythmic scratches by cutting up Curtis Mayfield and Beastie Boys records.
After the demos were finished, Fantasy Records dropped Pilate, Earley and Burrell from their deals. “They weren’t really sure how to market any of us,” says Pilate. Then, he chuckles, “The next time I ran into the Holyghost Boy, he had changed his name to MC Hammer.” After forming Bustin’ Records in Fremont with financial help from Oakland A’s ballplayers like Mike Davis and Dwayne Murphy, Hammer turned the Pilate demos into three 12”s — “Ring ’Em,” “The Thrill Is Gone” and “Let’s Get It Started” — and the 1987 album Feel My Power. “I was like, man, those were rough mixes! You were supposed to come back and let me fix that!” Pilate laughs.
Everyone involved in Bay Area hip-hop has vivid memories of MC Hammer blowing up. Near-mythical stories of his local takeover abound, like attending local concerts surrounded by a massive crew; or tearing up the dance floor at The Silks, a popular nightclub in Emeryville.
Today, it’s worth revisiting Feel My Power and 1988’s Let’s Get It Started. Released after Hammer signed with Capitol Records, Let’s Get It Started found Hammer and Pilate remixing those original demos while adding vital new tracks like “Pump It Up.” The results are bombastic and vibrant dance-floor jams as ecstatic as anything by Kid ‘n’ Play and Salt-n-Pepa. Hammer’s subsequent leap into pop superstardom with 1990’s Please Hammer Don’t Hurt ‘Em and the ubiquity of “U Can’t Touch This” obscure just how great those early tracks are.
Eight Woofers in the Trunk
MC Hammer’s major-label arrival in 1988 capped a year of Bay Area hip-hop on the cusp of national exposure.
After Too Short issued Born to Mack in the fall of 1987 on his Dangerous Music label, Jive Records picked it up. (Dangerous Music also issued Dangerous Crew, a compilation of vital Bay Area acts like Spice-1, Rappin’ 4-Tay, and the female duo Danger Zone.) Digital Underground’s playful and psychedelic “Underwater Rimes / Your Life’s a Cartoon” led to a deal with Tommy Boy. Local talent waited in the wings, including rapper/producer Paris (A.T.C.’s “Cisco Jam”), Sway & King Tech (Flynamic Force EP), Dangerous Dame (“The Power That’s Packed”), and MC Twist and the Def Squad (“Just Rock”). And the late Cameron Paul, known for his “Beats & Pieces” breakbeats, remixed Queens trio Salt-n-Pepa’s 1987 track “Push It” into a global phenomenon.
Incidentally, the first local group to score a major label deal wasn’t Hammer, but Surf MCs, a Berkeley group that Profile Records promoted as a Beastie Boys-like rap/rock crossover. Their 1987 album Surf or Die proved a flop.
Yet the third moment that catalyzed Bay Area hip-hop wasn’t a singular record like Timex Social Club’s “Rumors,” or an artist like Hammer and Short. It was the sound of walloping, all-enveloping bass.
Made for surgically enhanced car and jeep stereos, the bass colossus is as much a feature of hip-hop in the mid-’80s as the pounding Roland TR-808 machine, from Rick Rubin’s production on LL Cool J’s “Rock the Bells” and T La Rock’s “It’s Yours” to Rodney O and DJ Joe Cooley’s “Everlasting Bass” and Dr. Dre’s work on Eazy-E’s “The Boyz-N-The Hood.” It also mirrors the crack-cocaine epidemic that began to blight and distort communities across the country. As street life turned treacherous, the specter of the hustler, and whether to become one, cast a growing shadow.
“Then the new style came, the bass got deeper / You gave up the mike and bought you a beeper / Do you want to rap or sell coke? / Brothers like you ain’t never broke,” Too Short memorably rapped on his 1989 hit, “Life Is…Too Short.”
Banjoko recalls how the presence of gangs transformed local shows. “You would see a bunch of people dressed up together [in the same gear], and you might assume they were a rap or dance crew. They were young drug lords,” he says. “You could get trampled, beat up or robbed by any of them. I remember 69 Ville being massively deep at the Fresh Fest and the [Run-DMC] Raising Hell tour. They were terrifying, straight up. You were going to tuck your chain, you were going to take your Kangol off, or they were going to take it.”
Rap imagery became more honest and explicit. Some like Richmond rapper Magic Mike, San Francisco’s Hugh EMC (“It’s the Game”), and Oakland’s Hollywood (“Gangster Rap”) seemed to embrace the hustler ethos, while cautiously adding verses about the consequences of that lifestyle. Then there was Oakland rapper Morocco Moe, whose “Task” criticized how law enforcement brutalized communities in the War on Drugs: “Their intentions are good/But their actions are wrong.”
“Every Black neighborhood was infested” with crack, says Vallejo producer Khayree Shaheed. “There was an influx of money coming into young Black men, but there was also a lot of death occurring.” The epidemic also marked his entry into the world of rap.
As a descendant of the Bay Area’s vaunted funk tradition, Khayree spent the ’70s and early ’80s playing bass guitar for bands like Grand Larceny, Body Mind & Spirit and Touch of Class (with keyboardist Rosie Gaines, who later joined Prince & the New Power Generation). His travels took him across the U.S. and even to Japan, where Touch of Class lived and performed for several months. (Though his bands made demos, there are no official recordings to date.) When asked about the first time he heard rap, Khayree cites “jazzoetry” ensembles like The Last Poets, not the Sugarhill Gang. And as a youth growing up on Lofas Place in Vallejo, he spent plenty of time following Con Funk Shun, hoping to apprentice with the biggest band in the city.
Khayree was in his mid-20s when Rod “I.C.E.” Andrews and Dan “Luvva D” Morrison a.k.a. the Luvva Twins brought Khayree a demo they had made on a Casio keyboard, “Hubba Head.” The song title was slang for a crack addict, and the duo described the “hubba head’s” descent into addiction with charismatic punch. They arranged the music and rapped most of the lyrics, while Khayree dropped a short verse and added guitar.
Khayree had already spent time at Pilate’s home studio, honing his writing and production skills. (“I always enjoyed working with him,” says Pilate.) Now, he brought “Hubba Head” to Pilate, and the two prepared it for release. Setting up his own label, Big Bank Records, Khayree distributed two hundred copies of the 12” to DJs and influencers. “The record was super popular in the streets,” says Khayree.
After “Hubba Head,” Khayree began working with Jay King, a fellow graduate of Vallejo High School. The opportunity to write and produce New Choice’s 1987 single “Cold Stupid” and most of the quintet’s 1988 debut, At Last, gave him important experience on a major project and financial stability. By fusing bass, funky R&B and hip-hop breakbeats, New Choice reflected a parallel R&B movement that both influenced and was inspired by the hip-hop scene. Similar Bay Area acts included Oakland’s Tony! Toni! Toné!, who parlayed backing sessions for Sheila E. and Tramaine Hawkins into a major-label deal.
Flush from his experience with New Choice, Khayree was ready to start his own company. “I’m listening to EPMD’s Strictly Business,” he says, inspiring the name of his second label, Strictly Business Records. He knew that Mike “The Mac” Robinson, who also grew up on Lofas Place, was a rapper. Robinson hailed from a musical family: his uncle Steve “Silver” Scales was a well-traveled Vallejo funk percussionist who played with Talking Heads, Tom Tom Club, and the B-52s. (Though it would be a delicious coincidence, Scales didn’t perform on “Genius of Love.”) Khayree encouraged Robinson to take music more seriously. Meanwhile, Robinson’s mother drew the memorable Strictly Business logo: an open briefcase, ready for business.
In 1988, Khayree released The Mac’s three-song EP, “I’m Ah Big Mac.” Heard now, what immediately stands out is the unique tone of the bass. “We used synthesizers that had dumb-fat bass lines,” explains Khayree in reference to himself and Too Short as well as future Bay Area colleagues like Ant Banks. By comparison, he says, other regional scenes relied on a “natural” bass guitar or samples from records. “You feel it through your whole body. … You can get it with a bass guitar, depending on how you EQ the bass and what you run your guitar through. But you’re never going to touch the subs and the depth of a Minimoog, of the Oberheim Ovx, or the Roland Juno 106.” The EP’s highlight is its B-side “The Game Is Thick,” which centers on a sample of Prince’s “D.M.S.R.”
In 1989, Khayree remixed and re-released “The Game Is Thick” as a standalone 12” with a memorable cover photo: Khayree looking super-clean in a grey suit, clasping a briefcase, with The Mac in a red-and-black bomber jacket. Khayree calls the style “pimping.” “We didn’t mean pimping so much as getting prostitutes to work,” he explains. “It’s an attitude, and it’s a musical style.” The “game” is a metaphor for life in the Black community. Street slang illustrated complex situations, whether it was dealing with the repercussions of a raging crack epidemic, or simply navigating the tensions of everyday living. Meanwhile, The Mac’s “cool, silky, pimpish” flow and Khayree’s synthesized bass production proved a clear predecessor to the ’90s mob-music sound that took over Bay Area rap.
Upon release, “The Game Is Thick” didn’t make a major impact, and most copies went to local DJ pools. “We promoted records out of the trunk,” says Khayree. “We went from Bobby G’s Soul Disco in San Francisco to [Rico Casanova’s record pool] The Pros in Oakland.” Still, “The Game Is Thick” remix received a mention in Davey “D” Cook’s April 7, 1989 “Beats & Breaks” column for BAM Magazine. “Let me tell you, it’s hyped to the max,” Davey D wrote.
With Khayree’s encouragement, the Mac taught himself how to produce music with synth keyboards. He also introduced Khayree to another Vallejo artist, Andre “Mac Dre” Hicks, who became Strictly Business’ second act. By the time The Mac was shot and killed on July 23, 1991 in what Khayree calls “a case of mistaken identity,” the two had recorded dozens of tracks and released a third and final 12” protesting police violence, 1990’s “Enuff of Tis Sh-t!” One of The Mac’s beats posthumously appeared on Mac Dre’s 1993 track, “The M.A.C. & Mac D.R.E.”
“Mike had a big, big loving heart,” remembers Khayree, sounding wistful. He emphasizes how The Mac left behind a daughter, “Mac” Reina Robinson, and a pregnant girlfriend who gave birth to his son, Mike. At one point, Khayree plays a voicemail of The Mac passionately singing a funky, swinging hook, as if to counteract the stereotype that rappers aren’t musicians. He talks about how The Mac’s way of playing simple, evocative keyboard notes for maximum effect echoes in the work of his famed protégé, Mac Dre. “I miss him,” he says.
Sponsored
Bay Area rap broke wide at the end of the decade, leading to a 1989 story in the New York Times, “Rap by the Bay: Oakland Emerges as a Force in Pop.” Not every local pioneer who laid the groundwork would enjoy the fruits of that success. But their stories are essential to understanding how local hip-hop came of age, and everything that came after.
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"ltsai":{"type":"authors","id":"11743","meta":{"index":"authors_1591205172","id":"11743","found":true},"name":"Luke Tsai","firstName":"Luke","lastName":"Tsai","slug":"ltsai","email":"ltsai@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Editor","bio":"Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"tpham":{"type":"authors","id":"11753","meta":{"index":"authors_1591205172","id":"11753","found":true},"name":"Thien Pham","firstName":"Thien","lastName":"Pham","slug":"tpham","email":"thiendog@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Thien Pham | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/tpham"},"mreeves":{"type":"authors","id":"11855","meta":{"index":"authors_1591205172","id":"11855","found":true},"name":"Mosi Reeves","firstName":"Mosi","lastName":"Reeves","slug":"mreeves","email":"infamous30@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Mosi Reeves is a journalist and cultural critic based in Oakland, California. In addition to KQED, his work has appeared in \u003cem>Rolling Stone\u003c/em>, \u003cem>The Wire\u003c/em>, Pitchfork, \u003cem>Billboard\u003c/em>, and Grammy.com.","avatar":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Mosi Reeves | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mreeves"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13955884":{"type":"posts","id":"arts_13955884","meta":{"index":"posts_1591205157","site":"arts","id":"13955884","found":true},"guestAuthors":[],"slug":"sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar","title":"Sunnyvale’s Hottest Late-Night Food Spot Is the 24-Hour Indian Grocery Store","publishDate":1712884798,"format":"aside","headTitle":"Sunnyvale’s Hottest Late-Night Food Spot Is the 24-Hour Indian Grocery Store | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13955888\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi.jpg\" alt=\"A spread of Indian food on an outdoor table, including a rice combination tray, two samosas, a mango lassi and a plate of dahi puri. A man puts one of the dahi puri in his mouth.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Near midnight, all of the tables outside of Apni Mandi were occupied by diners feasting on chaat and curry. The Sunnyvale grocery store serves hot food 24 hours. \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 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.\u003c/i>\u003c/p>\n\u003cp>One of my personal oddities is that I love going to the grocery store late at night, strolling the fluorescent-lit aisles of my local Safeway a few minutes before closing, when the place resembles a ghost town. There is a sort of Zen-like quietude, I find, to being the only person in the freezer aisle picking out a tub of ice cream, or contemplating the 17 different varieties of instant noodles. In these days of still-mostly-remote work, sometimes it’s the only time I leave the house all day.\u003c/p>\n\u003cp>Not that any of this could have prepared me for the mind-boggling crowd of produce browsers, chai drinkers and late-night snackers; the heaps of bagged spices and upbeat Bhangra music; and, all together, the glorious chaos of an Indian grocery store at midnight. Specifically, the 24-hour \u003ca href=\"https://apnabazar.com/\">Apni Mandi\u003c/a> (formerly \u003ca href=\"https://www.instagram.com/sunnyvale_adda/\">Apna Bazar\u003c/a>) supermarket in Sunnyvale.\u003c/p>\n\u003cp>Of course, it was news to us that there even \u003ci>is \u003c/i>a 24-hour Indian grocery store in the Bay Area, much less one that sells hot vegetarian curries and chaat at all hours of the night. But even knowing that the place existed in theory, we were amazed to see just how many people — all ages, almost exclusively South Asian — had come to the grocery store past 11 o’clock at night. Outside, the eight or nine umbrella-topped tables in front of the store were all occupied by groups of friends making happy conversation over spreads of roti, curry platters and pani puri, devouring the food in the half-darkness. The only light came from the big, neon-yellow “Apni Mandi” sign glowing overhead.\u003c/p>\n\u003cp>Inside, the aisles were jam-packed with shoppers loading their carts with various sundries — a bag of onions, a bunch of half-ripe bananas, some Maggi noodles. More than a few just stood there chatting with a cup of (quite tasty) hot chai in hand, poured from the free chai dispenser at one end of the store. Others stood in line at a kiosk dedicated to selling assorted Indian cakes and sweets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If my typical late-night grocery jaunts are more of a soothing, slightly antisocial balm, this felt electric — reminiscent of my favorite night markets in Asia.\u003c/p>\n\u003cfigure id=\"attachment_13955889\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside.jpg\" alt=\"A crowd of people waiting in line to order food inside an Indian grocery store. \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The longest line is at the hot food kiosk, where customers can choose from a variety of chaat, flatbreads and vegetarian curries. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By far the longest of the lines was the one for hot food. For 24 hours a day, customers can choose from an assortment of chaat, flatbreads and vegetarian curries, a \u003ca href=\"https://www.yelp.com/biz_photos/apna-bazar-sunnyvale?select=3570jvAKSEfKa0hWChZlHg\">rotating selection\u003c/a> of which are displayed in Apni Mandi’s steam table setup. There is, I’ll admit, a certain intimidation factor to ordering here if you’re a first-timer not fluent in the vocabulary of kulchas and bhaturas. When you get to the front of the line, none of the curries are labeled, nor is it obvious what anything on the chaat menu even \u003ci>is\u003c/i> if you haven’t had it before, and the long line behind you might add to the pressure.\u003c/p>\n\u003cp>But look: My feeling is that it’s healthy and character-building for every American to experience this mild level of discomfort at least once in a while — and when it’s in the service of procuring delicious food, who can complain? For the record, Apni Mandi’s friendly employees were happy to answer our questions, and, in a pinch, the smile-and-point method works perfectly well.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13954983,arts_13954112,arts_13954597']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For just $8.99, the thali platter comes with rice, onions, roti and your choice of two of the day’s curries. The kadhi pakora was savory and tangy, with bits of vegetable fritter that had soaked in the sauce until they were pleasantly soggy. On the other end of the flavor spectrum, the paneer makhani was a chunky tomato-based curry with a wonderful zip of heat. Lunch, dinner, 3 a.m. snack, it doesn’t matter: This thali would make a fantastic meal at any time of day.\u003c/p>\n\u003cp>But really, everything we wound up ordering was delicious (and absurdly reasonable in price). The market’s hallmarks include its fresh, fat samosas, which come two to an order, with an aggressively well-spiced potato filling — the perfect thing to help you sort yourself out if you’ve had a little too much to drink. And the dahi puri are simply a delight: Close cousins to the better-known pani puri, the crispy semolina shells are topped with spices, tamarind chutney, yogurt and little crispy noodles. Try fitting the whole thing in your mouth at once for the ideal tangy-spicy-sweet bite.\u003c/p>\n\u003cp>With apologies, then, to my local Safeway, let us give praise to the 24-hour Indian grocer — to the pleasures of the hot food stand and the prospect of leaving home at midnight for the express purpose of sipping hot chai with friends in the produce aisle. Now that I’ve experienced it in all its glory, I’m afraid there’s no turning back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sunnyvale_adda/\">\u003ci>Apni Mandi\u003c/i>\u003c/a>\u003ci> is open 24/7 at 1111 W. El Camino Real Ste. 107 in Sunnyvale.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In the South Bay, Apni Mandi is the place to be for delicious midnight chaat, thalis and chai.","status":"publish","parent":0,"modified":1712956118,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":965},"headData":{"title":"Sunnyvale’s Best Late-Night Food Is at the 24-Hour Indian Grocery Store | KQED","description":"In the South Bay, Apni Mandi is the place to be for delicious midnight chaat, thalis and chai.","ogTitle":"Sunnyvale’s Hottest Late-Night Food Spot Is the 24-Hour Indian Grocery Store","ogDescription":"","ogImgId":"","twTitle":"Sunnyvale’s Hottest Late-Night Food Spot Is the 24-Hour Indian Grocery Store","twDescription":"","twImgId":"","socialTitle":"Sunnyvale’s Best Late-Night Food Is at the 24-Hour Indian Grocery Store %%page%% %%sep%% KQED"},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955888\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi.jpg\" alt=\"A spread of Indian food on an outdoor table, including a rice combination tray, two samosas, a mango lassi and a plate of dahi puri. A man puts one of the dahi puri in his mouth.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Near midnight, all of the tables outside of Apni Mandi were occupied by diners feasting on chaat and curry. The Sunnyvale grocery store serves hot food 24 hours. \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 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.\u003c/i>\u003c/p>\n\u003cp>One of my personal oddities is that I love going to the grocery store late at night, strolling the fluorescent-lit aisles of my local Safeway a few minutes before closing, when the place resembles a ghost town. There is a sort of Zen-like quietude, I find, to being the only person in the freezer aisle picking out a tub of ice cream, or contemplating the 17 different varieties of instant noodles. In these days of still-mostly-remote work, sometimes it’s the only time I leave the house all day.\u003c/p>\n\u003cp>Not that any of this could have prepared me for the mind-boggling crowd of produce browsers, chai drinkers and late-night snackers; the heaps of bagged spices and upbeat Bhangra music; and, all together, the glorious chaos of an Indian grocery store at midnight. Specifically, the 24-hour \u003ca href=\"https://apnabazar.com/\">Apni Mandi\u003c/a> (formerly \u003ca href=\"https://www.instagram.com/sunnyvale_adda/\">Apna Bazar\u003c/a>) supermarket in Sunnyvale.\u003c/p>\n\u003cp>Of course, it was news to us that there even \u003ci>is \u003c/i>a 24-hour Indian grocery store in the Bay Area, much less one that sells hot vegetarian curries and chaat at all hours of the night. But even knowing that the place existed in theory, we were amazed to see just how many people — all ages, almost exclusively South Asian — had come to the grocery store past 11 o’clock at night. Outside, the eight or nine umbrella-topped tables in front of the store were all occupied by groups of friends making happy conversation over spreads of roti, curry platters and pani puri, devouring the food in the half-darkness. The only light came from the big, neon-yellow “Apni Mandi” sign glowing overhead.\u003c/p>\n\u003cp>Inside, the aisles were jam-packed with shoppers loading their carts with various sundries — a bag of onions, a bunch of half-ripe bananas, some Maggi noodles. More than a few just stood there chatting with a cup of (quite tasty) hot chai in hand, poured from the free chai dispenser at one end of the store. Others stood in line at a kiosk dedicated to selling assorted Indian cakes and sweets.\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>If my typical late-night grocery jaunts are more of a soothing, slightly antisocial balm, this felt electric — reminiscent of my favorite night markets in Asia.\u003c/p>\n\u003cfigure id=\"attachment_13955889\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside.jpg\" alt=\"A crowd of people waiting in line to order food inside an Indian grocery store. \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/apnimandi-inside-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The longest line is at the hot food kiosk, where customers can choose from a variety of chaat, flatbreads and vegetarian curries. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By far the longest of the lines was the one for hot food. For 24 hours a day, customers can choose from an assortment of chaat, flatbreads and vegetarian curries, a \u003ca href=\"https://www.yelp.com/biz_photos/apna-bazar-sunnyvale?select=3570jvAKSEfKa0hWChZlHg\">rotating selection\u003c/a> of which are displayed in Apni Mandi’s steam table setup. There is, I’ll admit, a certain intimidation factor to ordering here if you’re a first-timer not fluent in the vocabulary of kulchas and bhaturas. When you get to the front of the line, none of the curries are labeled, nor is it obvious what anything on the chaat menu even \u003ci>is\u003c/i> if you haven’t had it before, and the long line behind you might add to the pressure.\u003c/p>\n\u003cp>But look: My feeling is that it’s healthy and character-building for every American to experience this mild level of discomfort at least once in a while — and when it’s in the service of procuring delicious food, who can complain? For the record, Apni Mandi’s friendly employees were happy to answer our questions, and, in a pinch, the smile-and-point method works perfectly well.\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_13954983,arts_13954112,arts_13954597","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For just $8.99, the thali platter comes with rice, onions, roti and your choice of two of the day’s curries. The kadhi pakora was savory and tangy, with bits of vegetable fritter that had soaked in the sauce until they were pleasantly soggy. On the other end of the flavor spectrum, the paneer makhani was a chunky tomato-based curry with a wonderful zip of heat. Lunch, dinner, 3 a.m. snack, it doesn’t matter: This thali would make a fantastic meal at any time of day.\u003c/p>\n\u003cp>But really, everything we wound up ordering was delicious (and absurdly reasonable in price). The market’s hallmarks include its fresh, fat samosas, which come two to an order, with an aggressively well-spiced potato filling — the perfect thing to help you sort yourself out if you’ve had a little too much to drink. And the dahi puri are simply a delight: Close cousins to the better-known pani puri, the crispy semolina shells are topped with spices, tamarind chutney, yogurt and little crispy noodles. Try fitting the whole thing in your mouth at once for the ideal tangy-spicy-sweet bite.\u003c/p>\n\u003cp>With apologies, then, to my local Safeway, let us give praise to the 24-hour Indian grocer — to the pleasures of the hot food stand and the prospect of leaving home at midnight for the express purpose of sipping hot chai with friends in the produce aisle. Now that I’ve experienced it in all its glory, I’m afraid there’s no turning back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sunnyvale_adda/\">\u003ci>Apni Mandi\u003c/i>\u003c/a>\u003ci> is open 24/7 at 1111 W. El Camino Real Ste. 107 in Sunnyvale.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_1297","arts_4670","arts_8805","arts_3001","arts_2475","arts_14954","arts_21928","arts_22075"],"featImg":"arts_13955887","label":"source_arts_13955884"},"arts_13955953":{"type":"posts","id":"arts_13955953","meta":{"index":"posts_1591205157","site":"arts","id":"13955953","found":true},"guestAuthors":[],"slug":"free-ice-cream-ben-jerrys-april-16","title":"You Can Get Free Ice Cream on Tuesday — No Catch","publishDate":1713201034,"format":"standard","headTitle":"You Can Get Free Ice Cream on Tuesday — No Catch | KQED","labelTerm":{},"content":"\u003cp>If free ice cream sounds like a rewarding encore to finishing your taxes, look no further: Ben & Jerry’s is giving away free ice cream at its storefronts for eight hours, from noon–8 p.m., on Tuesday, April 16.\u003c/p>\n\u003cp>Visitors get one cone or cup each per visit and, notably, can come back as many times as they want on Tuesday for more. There is no catch — just walk up and leave with any flavor of your choice.\u003c/p>\n\u003cp>The company started Free Cone Day at its U.S. shops in 1993, and boasts that by 2015, it began giving away over 1 million cones in a single day.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13933705']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Ben & Jerry’s has also given away free ice cream on special occasions to \u003ca href=\"https://www.sfchronicle.com/local/article/Ben-Jerry-s-giving-away-ice-cream-for-police-15350523.php\">support police accountability\u003c/a>, and to marijuana buyers to \u003ca href=\"https://www.usatoday.com/story/money/2019/04/19/4-20-ben-jerrys-offers-free-ice-some-california-pot-buyers/3520130002/\">raise awareness about racial inequities in the criminal justice system\u003c/a>. Earlier this year, \u003ca href=\"https://www.ufcw.org/actions/campaign/ben-jerrys-union/\">Ben & Jerry’s workers\u003c/a> in Vermont ratified their \u003ca href=\"https://www.rakevt.org/2024/01/18/ben-jerrys-workers-ratify-landmark-first-union-contract/\">first union contract\u003c/a>.\u003c/p>\n\u003cp>The annual free ice cream day went on hold during the pandemic, but returned in 2023.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>See the Ben & Jerry’s locations giving out free ice cream on April 16 below:\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003cbr>\nHaight-Ashbury (1480 Haight Street, San Francisco)\u003cbr>\nFisherman’s Wharf (Pier 41, San Francisco)\u003cbr>\nThe Argonaut Hotel (475 Jefferson Street, near Fisherman’s Wharf, San Francisco)\u003c/p>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003cbr>\nJack London Square (505 Embarcadero W., Oakland)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Napa\u003c/strong>\u003cbr>\nDowntown Napa (1136 Main St., Napa)\u003c/p>\n\n","blocks":[],"excerpt":"Ben & Jerry's reprises its annual Free Cone Day.","status":"publish","parent":0,"modified":1713201188,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":246},"headData":{"title":"Free Ice Cream at Ben & Jerry's on Tuesday, April 16 | KQED","description":"Ben & Jerry's reprises its annual Free Cone Day.","ogTitle":"You Can Get Free Ice Cream on Tuesday — No Catch","ogDescription":"","ogImgId":"","twTitle":"You Can Get Free Ice Cream on Tuesday — No Catch","twDescription":"","twImgId":"","socialTitle":"Free Ice Cream at Ben & Jerry's on Tuesday, April 16 %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955953/free-ice-cream-ben-jerrys-april-16","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If free ice cream sounds like a rewarding encore to finishing your taxes, look no further: Ben & Jerry’s is giving away free ice cream at its storefronts for eight hours, from noon–8 p.m., on Tuesday, April 16.\u003c/p>\n\u003cp>Visitors get one cone or cup each per visit and, notably, can come back as many times as they want on Tuesday for more. There is no catch — just walk up and leave with any flavor of your choice.\u003c/p>\n\u003cp>The company started Free Cone Day at its U.S. shops in 1993, and boasts that by 2015, it began giving away over 1 million cones in a single day.\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_13933705","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Ben & Jerry’s has also given away free ice cream on special occasions to \u003ca href=\"https://www.sfchronicle.com/local/article/Ben-Jerry-s-giving-away-ice-cream-for-police-15350523.php\">support police accountability\u003c/a>, and to marijuana buyers to \u003ca href=\"https://www.usatoday.com/story/money/2019/04/19/4-20-ben-jerrys-offers-free-ice-some-california-pot-buyers/3520130002/\">raise awareness about racial inequities in the criminal justice system\u003c/a>. Earlier this year, \u003ca href=\"https://www.ufcw.org/actions/campaign/ben-jerrys-union/\">Ben & Jerry’s workers\u003c/a> in Vermont ratified their \u003ca href=\"https://www.rakevt.org/2024/01/18/ben-jerrys-workers-ratify-landmark-first-union-contract/\">first union contract\u003c/a>.\u003c/p>\n\u003cp>The annual free ice cream day went on hold during the pandemic, but returned in 2023.\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>See the Ben & Jerry’s locations giving out free ice cream on April 16 below:\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003cbr>\nHaight-Ashbury (1480 Haight Street, San Francisco)\u003cbr>\nFisherman’s Wharf (Pier 41, San Francisco)\u003cbr>\nThe Argonaut Hotel (475 Jefferson Street, near Fisherman’s Wharf, San Francisco)\u003c/p>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003cbr>\nJack London Square (505 Embarcadero W., Oakland)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Napa\u003c/strong>\u003cbr>\nDowntown Napa (1136 Main St., Napa)\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955953/free-ice-cream-ben-jerrys-april-16","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_1297","arts_659","arts_22078","arts_585"],"featImg":"arts_13955963","label":"source_arts_13955953"},"arts_13955410":{"type":"posts","id":"arts_13955410","meta":{"index":"posts_1591205157","site":"arts","id":"13955410","found":true},"guestAuthors":[],"slug":"world-naked-bike-ride-2024-where-to-meet-420-dress-code","title":"The World Naked Bike Ride Is Happening on 4/20 in San Francisco","publishDate":1712613910,"format":"standard","headTitle":"The World Naked Bike Ride Is Happening on 4/20 in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Ah, April 20. A hallowed day on the Bay Area calendar that has long been used to celebrate marijuana in all its forms and glory. Well, this year, the very stoned humans of San Francisco can celebrate the day by bearing witness to scores of cyclists who’ll be baring it all on bicycles. That’s right! This year’s World Naked Bike Ride falls on 4/20. Which almost — almost! — makes up for the \u003ca href=\"https://www.kqed.org/news/11980820/san-franciscos-annual-420-celebration-on-hippie-hill-canceled-for-2024\">cancellation of Golden Gate Park’s annual Hippie Hill event\u003c/a>.\u003c/p>\n\u003cp>[aside postid='news_11613510']As usual, the city’s wheelie nude adventure will start at the giant bow and arrow in Rincon Park — Claes Oldenburg and Coosje van Bruggen’s \u003ci>Cupid’s Span\u003c/i>. It will then sojourn past Chase Center and Oracle Park, head up to North Beach, circle back past City Hall, before heading on over to the Haight and ending in the Castro. All told, the ride lasts 16.5 miles and finishes with a naked party at (of all places) Castro Street’s \u003ca href=\"https://www.gyroxpresssf.com/\">Gyro Xpress\u003c/a>. (Careful where you drop that tzatziki, riders!)\u003c/p>\n\u003cp>Naked Bike Ride organizers ask that cyclists keep inside the right lane as much as possible, refrain from throwing objects at passing cars, and make sure bicycles are fully tuned before the ride starts.\u003c/p>\n\u003cfigure id=\"attachment_13955430\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone.jpg\" alt=\"A group of naked people riding bicycles, led by two women wearing strategically placed body paint.\" width=\"1868\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone.jpg 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-1536x1151.jpg 1536w\" sizes=\"(max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Though rain is forecast, sunblock is probably still a wise move for riders. \u003ccite>(Gareth Fuller/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those cyclists thinking about participating, but nervous about going full birthday suit, don’t worry. While full nudity is encouraged, an ethos of “as bare as you dare” is embraced as well. Organizers even suggest bringing transparent ponchos or windbreakers in case of rain, which is currently forecast on the day.\u003c/p>\n\u003cp>This year marks the 20th anniversary of the World Naked Bike Ride, which was started by \u003ca href=\"https://en.wikipedia.org/wiki/Conrad_Schmidt_(social_activist)\">Conrad Schmidt\u003c/a> in Vancouver, Canada. Since then, cyclists in 36 countries around the globe have been taking the annual opportunity to protest climate change and highlight the vulnerability of cyclists and pedestrians. The ride also seeks to endorse body positivity, community building and renewable energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The April 20 ride was organized specifically to coincide with Earth Day (April 22). The Northern Hemisphere chapters of World Naked Bike Ride — including San Francisco — will also ride on June 8, 2024. Plenty of time, then, should you need to make an extra cushion for your saddle…\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://wiki.worldnakedbikeride.org/index.php?title=San_Francisco\">San Francisco’s World Naked Bike Ride\u003c/a> leaves Rincon Park (Embarcadero and Folsom) at noon on April 20, 2024. \u003ca href=\"https://ridewithgps.com/routes/46069540\">The full route\u003c/a> is available online now.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The next World Naked Bike Ride is happening on 4/20. Here’s where San Francisco cyclists will be baring it all.","status":"publish","parent":0,"modified":1712613910,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":440},"headData":{"title":"World Naked Bike Ride San Francisco: All You Need to Know | KQED","description":"The next World Naked Bike Ride is happening on 4/20. Here’s where San Francisco cyclists will be baring it all.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"World Naked Bike Ride San Francisco: All You Need to Know %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955410/world-naked-bike-ride-2024-where-to-meet-420-dress-code","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, April 20. A hallowed day on the Bay Area calendar that has long been used to celebrate marijuana in all its forms and glory. Well, this year, the very stoned humans of San Francisco can celebrate the day by bearing witness to scores of cyclists who’ll be baring it all on bicycles. That’s right! This year’s World Naked Bike Ride falls on 4/20. Which almost — almost! — makes up for the \u003ca href=\"https://www.kqed.org/news/11980820/san-franciscos-annual-420-celebration-on-hippie-hill-canceled-for-2024\">cancellation of Golden Gate Park’s annual Hippie Hill event\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11613510","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As usual, the city’s wheelie nude adventure will start at the giant bow and arrow in Rincon Park — Claes Oldenburg and Coosje van Bruggen’s \u003ci>Cupid’s Span\u003c/i>. It will then sojourn past Chase Center and Oracle Park, head up to North Beach, circle back past City Hall, before heading on over to the Haight and ending in the Castro. All told, the ride lasts 16.5 miles and finishes with a naked party at (of all places) Castro Street’s \u003ca href=\"https://www.gyroxpresssf.com/\">Gyro Xpress\u003c/a>. (Careful where you drop that tzatziki, riders!)\u003c/p>\n\u003cp>Naked Bike Ride organizers ask that cyclists keep inside the right lane as much as possible, refrain from throwing objects at passing cars, and make sure bicycles are fully tuned before the ride starts.\u003c/p>\n\u003cfigure id=\"attachment_13955430\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone.jpg\" alt=\"A group of naked people riding bicycles, led by two women wearing strategically placed body paint.\" width=\"1868\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone.jpg 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/nipple-be-gone-1536x1151.jpg 1536w\" sizes=\"(max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Though rain is forecast, sunblock is probably still a wise move for riders. \u003ccite>(Gareth Fuller/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those cyclists thinking about participating, but nervous about going full birthday suit, don’t worry. While full nudity is encouraged, an ethos of “as bare as you dare” is embraced as well. Organizers even suggest bringing transparent ponchos or windbreakers in case of rain, which is currently forecast on the day.\u003c/p>\n\u003cp>This year marks the 20th anniversary of the World Naked Bike Ride, which was started by \u003ca href=\"https://en.wikipedia.org/wiki/Conrad_Schmidt_(social_activist)\">Conrad Schmidt\u003c/a> in Vancouver, Canada. Since then, cyclists in 36 countries around the globe have been taking the annual opportunity to protest climate change and highlight the vulnerability of cyclists and pedestrians. The ride also seeks to endorse body positivity, community building and renewable energy.\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>The April 20 ride was organized specifically to coincide with Earth Day (April 22). The Northern Hemisphere chapters of World Naked Bike Ride — including San Francisco — will also ride on June 8, 2024. Plenty of time, then, should you need to make an extra cushion for your saddle…\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://wiki.worldnakedbikeride.org/index.php?title=San_Francisco\">San Francisco’s World Naked Bike Ride\u003c/a> leaves Rincon Park (Embarcadero and Folsom) at noon on April 20, 2024. \u003ca href=\"https://ridewithgps.com/routes/46069540\">The full route\u003c/a> is available online now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955410/world-naked-bike-ride-2024-where-to-meet-420-dress-code","authors":["11242"],"categories":["arts_1","arts_835","arts_11615"],"featImg":"arts_13955596","label":"arts"},"arts_13955977":{"type":"posts","id":"arts_13955977","meta":{"index":"posts_1591205157","site":"arts","id":"13955977","found":true},"guestAuthors":[],"slug":"calvin-keys-jazz-guitarist-dies-obit-oakland","title":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","publishDate":1713215781,"format":"standard","headTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>[aside postID='arts_13935159']Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n","blocks":[],"excerpt":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","status":"publish","parent":0,"modified":1713399419,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":881},"headData":{"title":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 | KQED","description":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","ogTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","ogDescription":"","ogImgId":"","twTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","twDescription":"","twImgId":"","socialTitle":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/f582ee74-90eb-466c-aa23-b15500fe9994/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\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>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935159","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","authors":["185"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_22080","arts_1420","arts_21789"],"featImg":"arts_13956006","label":"arts"},"arts_13955948":{"type":"posts","id":"arts_13955948","meta":{"index":"posts_1591205157","site":"arts","id":"13955948","found":true},"guestAuthors":[],"slug":"best-new-documentaries-netflix-hbo-streaming","title":"Three Eye-Opening Documentaries You Can Stream Right Now","publishDate":1713190768,"format":"standard","headTitle":"Three Eye-Opening Documentaries You Can Stream Right Now | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","status":"publish","parent":0,"modified":1713162028,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":683},"headData":{"title":"Best New True Crime Documentaries to Stream | KQED","description":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","ogTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","ogDescription":"","ogImgId":"","twTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","twDescription":"","twImgId":"","socialTitle":"Best New True Crime Documentaries to Stream%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1244355654","nprApiLink":"http://api.npr.org/query?id=1244355654&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/14/1244355654/what-to-watch-documentary-netflix-hbo-max?ft=nprml&f=1244355654","nprRetrievedStory":"1","nprPubDate":"Sun, 14 Apr 2024 07:00:00 -0400","nprStoryDate":"Sun, 14 Apr 2024 07:00:40 -0400","nprLastModifiedDate":"Sun, 14 Apr 2024 07:00:40 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\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/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\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/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\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/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","authors":["byline_arts_13955948"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_13672","arts_20624","arts_3324","arts_769","arts_6427","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13955949","label":"arts_140"},"arts_13955879":{"type":"posts","id":"arts_13955879","meta":{"index":"posts_1591205157","site":"arts","id":"13955879","found":true},"guestAuthors":[],"slug":"jonathan-carver-moore-gallery-residency-market-street","title":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","publishDate":1713292416,"format":"standard","headTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Jonathan Carver Moore is not one to rest on his laurels. Less than a year after opening his \u003ca href=\"https://www.jonathancarvermoore.com/\">eponymous gallery\u003c/a> on Market Street, he has launched a residency program in the empty 2,600-square-foot retail space next door. Now, Aplerh-Doku Borlabi’s \u003cem>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/13-bold-solo-presentation-from-aplerh-doku-borlabi/installation_shots/\">BOLD\u003c/a>\u003c/em>, on view through June 8, is Moore’s inaugural artist-in-residency exhibition. The \u003ca href=\"https://www.instagram.com/dokuborlabi/\">Ghanaian artist\u003c/a> created all the work for the show — large-scale portraits using coconut sheafs to depict skin — during the seven weeks he spent in San Francisco. \u003c/p>\n\u003cp>[aside postID='arts_13952117']Since he opened the gallery in March 2023, Moore has brought the work of several international artists into the space, including South African photographer \u003ca href=\"https://www.kqed.org/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography\">Zanele Muholi\u003c/a> and their Cape Town students, Nigerian painter \u003ca href=\"https://www.instagram.com/odinakachi_okoroafor/?hl=en\">Odinakachi Okoroafor\u003c/a> and Cameroonian artist \u003ca href=\"https://www.instagram.com/sesseelangwe/?hl=en\">Sesse Elangwe\u003c/a>. \u003c/p>\n\u003cp>Alongside this international roster, Moore has shown work by a textile artist from Atlanta, a Los Angeles photographer and an Oaklander who now lives in Detroit. He hopes this mingling of local, national and international artists will create a network of its own, with relationships forming that might bring American artists out-of-country opportunities, in turn.\u003c/p>\n\u003cfigure id=\"attachment_13955499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg\" alt=\"Person shifting an artwork on bare drywall in large street-facing space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore adjusts Aplerh-Doku Borlabi’s artwork in the residency’s studio space next door to his gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was only a few months after opening the gallery that Moore started thinking about running a residency. He wanted to give some of those more far-flung artists the experience of working in a different space, and to give Bay Area audiences the chance to see what and how they created. (Moving forward, he plans to invite local artists to the residency as well.) \u003c/p>\n\u003cp>“I wasn’t sure how it was all going to come together, but I think that sometimes, when you support the community, the community in turn supports you,” he says. “It took a couple of minds coming together to make this happen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of those minds belongs to Joy Ou, a designer, developer and landlord of 960 Market St., the building that houses the gallery and residency. Another belongs to Michelle Mansour, the director of nearby \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a> (where Moore is on the board), who recently announced \u003ca href=\"https://rootdivision.org/apply/executive-director/\">she’s leaving the arts nonprofit\u003c/a> after 20 years. \u003c/p>\n\u003cp>With all the hype around San Francisco’s “doom loop,” you might think people wouldn’t be interested in heading to mid-Market to see art. But Ou saw that Moore could pack the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13955502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg\" alt=\"Black man leans against doorframe, windows facing street, red-painted gallery walls behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore stands in the doorway of his Market Street gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When he had his opening, he had a line down the block,” she says. “I was like, ‘Who is this guy that he can have this kind of draw?’”\u003c/p>\n\u003cp>Moore, Ou and Mansour had dinner last summer to talk about the neighborhood and what they could create together. \u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Michelle Mansour, Root Division']‘You can also just do the things, and Jonathan is very much that kind of person.’[/pullquote]“Then fast forward to January, and I was like, ‘Hey, what’s happening with this space next door?’” Moore remembers asking Ou. “She said, ‘It’s vacant. What are you seeing happen?’ And the three of us got on the Zoom, and I swear, within an hour, we had a plan.”\u003c/p>\n\u003cp>Mansour helped Moore put together a budget, factoring in art materials, travel from Ghana and a $5,000 stipend. Ou donated the space for the artist’s ground-floor studio, as well as an apartment upstairs for the residency. Moore called Borlabi to confirm timing and bought the artist a plane ticket. \u003c/p>\n\u003cp>Like Ou, Mansour appreciates Moore’s focus and determination. \u003c/p>\n\u003cp>“The idea of just making something happen, a let’s-do-this attitude, as opposed to, ‘We could talk about it or set up meetings to talk about what we’re going to talk about in the next meeting,’” Mansour says. “You can also just do the things, and Jonathan is very much that kind of person.”\u003c/p>\n\u003cfigure id=\"attachment_13955500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg\" alt=\"Small figure looks at large-scale portrait paintings in gallery space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aplerh-Doku Borlabi’s exhibition ‘BOLD’ is on view at Jonathan Carver Moore Gallery through June 8, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore, who has a master’s in public relations from George Washington University, reached out to organizations in the Tenderloin and beyond to bolster Borlabi’s residency. He hired a photographer and a videographer to document the artist in the studio and hosted several events in both spaces, including the gallery’s one-year anniversary party and the opening of \u003cem>BOLD\u003c/em>. Grants from the \u003ca href=\"https://www.nclfinc.org/\">New Community Leadership Foundation\u003c/a> and \u003ca href=\"https://www.marketstreetarts.org/\">Market Street Arts\u003c/a> helped pay for those events. \u003c/p>\n\u003cp>Pamela Hornik, a Bay Area arts supporter and collector of Borlabi’s work, also organized a breakfast at the gallery. Hornik says artists working in empty spaces brings vitality to the area, but organizing that activity requires follow-through.\u003c/p>\n\u003cp>“It seems like such a simple idea, but nothing is easy. You can’t just use spaces because you have to be able to turn on the heat and turn on the lights,” Hornik says. “The fact that they were able to make this happen is pretty amazing, but Jonathan just makes things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13956066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13956066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moore carries a ladder through the 2,600-square-foot space he’s annexed as a studio for artists in residence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fall, Moore plans to bring in Sesse Elangwe who, like Borlabi, was one of six men from throughout the African diaspora featured in Moore’s second exhibition, \u003ci>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/7-black-as-an-experience-not-as-a-color-a-group-exhibition/overview/\">Black as an Experience, Not as a Color\u003c/a>\u003c/i>. Coming up, Moore plans to host a local LGBTQ+ artist in the residency, with the goal of having their work on view when the Pride Parade goes down Market Street in late June. \u003c/p>\n\u003cp>He says with Borlabi, he saw the difference a residency can make for an artists. \u003c/p>\n\u003cp>“I think Doku told me that his studio that he works out of and shares with Amoako Boafo is maybe a half the size of the gallery,” Moore says. “So, to have almost 3,000 square feet just for him meant he was able to spread out and just let his mind wander and create.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘BOLD’ is on view at \u003ca href=\"https://www.jonathancarvermoore.com/\">Jonathan Carver Moore\u003c/a> (966 Market St., San Francisco) through June 8, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Less than a year after he opened his gallery, Jonathan Carver Moore has expanded to host visiting artists.","status":"publish","parent":0,"modified":1713292416,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1101},"headData":{"title":"Jonathan Carver Moore Adds a Residency Program to His Gallery | KQED","description":"Less than a year after he opened his gallery, Jonathan Carver Moore has expanded to host visiting artists.","ogTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","ogDescription":"","ogImgId":"","twTitle":"A Gallery Owner With a ‘Let’s-Do-This Attitude’ Launches a Residency on Market Street","twDescription":"","twImgId":"","socialTitle":"Jonathan Carver Moore Adds a Residency Program to His Gallery %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Emily Wilson","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955879/jonathan-carver-moore-gallery-residency-market-street","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Carver Moore is not one to rest on his laurels. Less than a year after opening his \u003ca href=\"https://www.jonathancarvermoore.com/\">eponymous gallery\u003c/a> on Market Street, he has launched a residency program in the empty 2,600-square-foot retail space next door. Now, Aplerh-Doku Borlabi’s \u003cem>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/13-bold-solo-presentation-from-aplerh-doku-borlabi/installation_shots/\">BOLD\u003c/a>\u003c/em>, on view through June 8, is Moore’s inaugural artist-in-residency exhibition. The \u003ca href=\"https://www.instagram.com/dokuborlabi/\">Ghanaian artist\u003c/a> created all the work for the show — large-scale portraits using coconut sheafs to depict skin — during the seven weeks he spent in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952117","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since he opened the gallery in March 2023, Moore has brought the work of several international artists into the space, including South African photographer \u003ca href=\"https://www.kqed.org/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography\">Zanele Muholi\u003c/a> and their Cape Town students, Nigerian painter \u003ca href=\"https://www.instagram.com/odinakachi_okoroafor/?hl=en\">Odinakachi Okoroafor\u003c/a> and Cameroonian artist \u003ca href=\"https://www.instagram.com/sesseelangwe/?hl=en\">Sesse Elangwe\u003c/a>. \u003c/p>\n\u003cp>Alongside this international roster, Moore has shown work by a textile artist from Atlanta, a Los Angeles photographer and an Oaklander who now lives in Detroit. He hopes this mingling of local, national and international artists will create a network of its own, with relationships forming that might bring American artists out-of-country opportunities, in turn.\u003c/p>\n\u003cfigure id=\"attachment_13955499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg\" alt=\"Person shifting an artwork on bare drywall in large street-facing space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-010-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore adjusts Aplerh-Doku Borlabi’s artwork in the residency’s studio space next door to his gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was only a few months after opening the gallery that Moore started thinking about running a residency. He wanted to give some of those more far-flung artists the experience of working in a different space, and to give Bay Area audiences the chance to see what and how they created. (Moving forward, he plans to invite local artists to the residency as well.) \u003c/p>\n\u003cp>“I wasn’t sure how it was all going to come together, but I think that sometimes, when you support the community, the community in turn supports you,” he says. “It took a couple of minds coming together to make this happen.”\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>One of those minds belongs to Joy Ou, a designer, developer and landlord of 960 Market St., the building that houses the gallery and residency. Another belongs to Michelle Mansour, the director of nearby \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a> (where Moore is on the board), who recently announced \u003ca href=\"https://rootdivision.org/apply/executive-director/\">she’s leaving the arts nonprofit\u003c/a> after 20 years. \u003c/p>\n\u003cp>With all the hype around San Francisco’s “doom loop,” you might think people wouldn’t be interested in heading to mid-Market to see art. But Ou saw that Moore could pack the gallery.\u003c/p>\n\u003cfigure id=\"attachment_13955502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg\" alt=\"Black man leans against doorframe, windows facing street, red-painted gallery walls behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-042-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moore stands in the doorway of his Market Street gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When he had his opening, he had a line down the block,” she says. “I was like, ‘Who is this guy that he can have this kind of draw?’”\u003c/p>\n\u003cp>Moore, Ou and Mansour had dinner last summer to talk about the neighborhood and what they could create together. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘You can also just do the things, and Jonathan is very much that kind of person.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Michelle Mansour, Root Division","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Then fast forward to January, and I was like, ‘Hey, what’s happening with this space next door?’” Moore remembers asking Ou. “She said, ‘It’s vacant. What are you seeing happen?’ And the three of us got on the Zoom, and I swear, within an hour, we had a plan.”\u003c/p>\n\u003cp>Mansour helped Moore put together a budget, factoring in art materials, travel from Ghana and a $5,000 stipend. Ou donated the space for the artist’s ground-floor studio, as well as an apartment upstairs for the residency. Moore called Borlabi to confirm timing and bought the artist a plane ticket. \u003c/p>\n\u003cp>Like Ou, Mansour appreciates Moore’s focus and determination. \u003c/p>\n\u003cp>“The idea of just making something happen, a let’s-do-this attitude, as opposed to, ‘We could talk about it or set up meetings to talk about what we’re going to talk about in the next meeting,’” Mansour says. “You can also just do the things, and Jonathan is very much that kind of person.”\u003c/p>\n\u003cfigure id=\"attachment_13955500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg\" alt=\"Small figure looks at large-scale portrait paintings in gallery space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13955500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JONATHANCARVERMOORE-028-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aplerh-Doku Borlabi’s exhibition ‘BOLD’ is on view at Jonathan Carver Moore Gallery through June 8, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore, who has a master’s in public relations from George Washington University, reached out to organizations in the Tenderloin and beyond to bolster Borlabi’s residency. He hired a photographer and a videographer to document the artist in the studio and hosted several events in both spaces, including the gallery’s one-year anniversary party and the opening of \u003cem>BOLD\u003c/em>. Grants from the \u003ca href=\"https://www.nclfinc.org/\">New Community Leadership Foundation\u003c/a> and \u003ca href=\"https://www.marketstreetarts.org/\">Market Street Arts\u003c/a> helped pay for those events. \u003c/p>\n\u003cp>Pamela Hornik, a Bay Area arts supporter and collector of Borlabi’s work, also organized a breakfast at the gallery. Hornik says artists working in empty spaces brings vitality to the area, but organizing that activity requires follow-through.\u003c/p>\n\u003cp>“It seems like such a simple idea, but nothing is easy. You can’t just use spaces because you have to be able to turn on the heat and turn on the lights,” Hornik says. “The fact that they were able to make this happen is pretty amazing, but Jonathan just makes things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13956066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13956066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240404-JonathanCarverMoore-001-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Moore carries a ladder through the 2,600-square-foot space he’s annexed as a studio for artists in residence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the fall, Moore plans to bring in Sesse Elangwe who, like Borlabi, was one of six men from throughout the African diaspora featured in Moore’s second exhibition, \u003ci>\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/7-black-as-an-experience-not-as-a-color-a-group-exhibition/overview/\">Black as an Experience, Not as a Color\u003c/a>\u003c/i>. Coming up, Moore plans to host a local LGBTQ+ artist in the residency, with the goal of having their work on view when the Pride Parade goes down Market Street in late June. \u003c/p>\n\u003cp>He says with Borlabi, he saw the difference a residency can make for an artists. \u003c/p>\n\u003cp>“I think Doku told me that his studio that he works out of and shares with Amoako Boafo is maybe a half the size of the gallery,” Moore says. “So, to have almost 3,000 square feet just for him meant he was able to spread out and just let his mind wander and create.”\u003c/p>\n\u003chr>\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>\u003ci>‘BOLD’ is on view at \u003ca href=\"https://www.jonathancarvermoore.com/\">Jonathan Carver Moore\u003c/a> (966 Market St., San Francisco) through June 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955879/jonathan-carver-moore-gallery-residency-market-street","authors":["byline_arts_13955879"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1020","arts_901"],"featImg":"arts_13955501","label":"arts"},"arts_13956032":{"type":"posts","id":"arts_13956032","meta":{"index":"posts_1591205157","site":"arts","id":"13956032","found":true},"guestAuthors":[],"slug":"tiktok-octopus-terrance-two-spot-california-weird-pets","title":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","publishDate":1713285307,"format":"standard","headTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The one thing 9-year-old Cal Clifford wanted more than anything since he was a toddler was a pet octopus.\u003c/p>\n\u003cp>The boy’s family in rural Edmond, Oklahoma, humored him with toy versions of an eight-legged mollusk, but as Cal got older it became clear that only the real thing would do.\u003c/p>\n\u003cp>[aside postid='arts_13951961']The child’s father, 36-year-old dentist Cameron Clifford, researched the possibility with a local aquarium store and before long Terrance the California two-spot octopus, also known as a bimac, was living in a watery enclosure at the family home southwest of Oklahoma City.\u003c/p>\n\u003cp>“We really like to encourage our children’s interests,” said the older Clifford. “It’s magical to see a kid embrace their dreams and bring them to fruition. Cal has been infatuated with the natural world and with marine biology since he was very little.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.tiktok.com/@doctoktopus\">popular TikTok saga\u003c/a> was launched with the father narrating the tale of Terrance the cephalopod, using a faux British accent generated by the social media app. Eventually, hundreds of thousands of people were following.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7347009867028270382\" data-video-id=\"7347009867028270382\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AW SHUCKS. \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"saltwater\" href=\"https://www.tiktok.com/tag/saltwater?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwater\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"♬ Reggae Relaxante Base - Dance Comercial Music\" href=\"https://www.tiktok.com/music/Reggae-Relaxante-Base-7146231087398668290?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Reggae Relaxante Base – Dance Comercial Music\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Within weeks, the tale took a surprise turn when it was learned Terrance was actually a female as she laid some 50 eggs that the family initially assumed were unfertilized. Several weeks after that, teeny near-transparent octopus babies began hatching and were given names like Rocket Larry, Squid Cudi, Swim Shady, Jay-Sea and Sea-Yoncé.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7353825745661250862\" data-video-id=\"7353825745661250862\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AN OCTOPOSSE \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"octomom\" href=\"https://www.tiktok.com/tag/octomom?refer=embed\" target=\"_blank\" rel=\"noopener\">#octomom\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7353825857968540462?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Cal had burst into tears at the family dinner table when his father first announced that the local aquarium store had told him adopting an octopus would be possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Father and son together researched what was needed, deciding on a saltwater tank and water cycling system and ensuring they would be able to source food for the soft-bodied sea creature.\u003c/p>\n\u003cp>The family’s younger son Lyle and mom Kari also joined the project in their own ways. A family friend who is a reptile scientist has provided support and advice.\u003c/p>\n\u003cp>While female octopuses usually die soon after laying their eggs, Clifford said Terrance remains alive four months later.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7355098970932153646\" data-video-id=\"7355098970932153646\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> FB Marketplace IYKYK \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7355099371962583851?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Clifford said the family has gained much from the experience.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“Aside from the physical, financial and emotional requirements of owning a species such as a bimac, you will learn a lot about yourself in the process,” the Arizona-born Clifford told TikTok followers in his app-generated accent. “There’s always some valve or seal that’s not completely closed, and your storm resistant carpet isn’t rated for gallons and gallons of seawater. You’ll learn that seawater and electricity don’t always get along.”\u003c/p>\n\u003cp>“You will learn new things and meet incredible people and will learn that wildlife is magnificent,” he added. “But most of all, you’ll learn to love a not-so-tiny octopus like Terrance.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7356635947531849002\" data-video-id=\"7356635947531849002\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> THANK YOU OCTO-NATION 🐙 ❤️ \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ Elevator Music (Music Background) - Music Background & Easy Listening Background Music & Haruto Nakamori\" href=\"https://www.tiktok.com/music/Elevator-Music-Music-Background-6841973391990212610?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Elevator Music (Music Background) – Music Background & Easy Listening Background Music & Haruto Nakamori\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>[tiktok]\u003c/p>\n\n","blocks":[],"excerpt":"A well-intentioned dad bought his son an octopus. Things got wildly out of hand once she started laying eggs...","status":"publish","parent":0,"modified":1713285307,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":604},"headData":{"title":"Terrance, the Californian Two-Spot Octopus: A TikTok Saga | KQED","description":"A well-intentioned dad bought his son an octopus. Things got wildly out of hand once she started laying eggs...","ogTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","ogDescription":"","ogImgId":"","twTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","twDescription":"","twImgId":"","socialTitle":"Terrance, the Californian Two-Spot Octopus: A TikTok Saga%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Anita Snow, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956032/tiktok-octopus-terrance-two-spot-california-weird-pets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The one thing 9-year-old Cal Clifford wanted more than anything since he was a toddler was a pet octopus.\u003c/p>\n\u003cp>The boy’s family in rural Edmond, Oklahoma, humored him with toy versions of an eight-legged mollusk, but as Cal got older it became clear that only the real thing would do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951961","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The child’s father, 36-year-old dentist Cameron Clifford, researched the possibility with a local aquarium store and before long Terrance the California two-spot octopus, also known as a bimac, was living in a watery enclosure at the family home southwest of Oklahoma City.\u003c/p>\n\u003cp>“We really like to encourage our children’s interests,” said the older Clifford. “It’s magical to see a kid embrace their dreams and bring them to fruition. Cal has been infatuated with the natural world and with marine biology since he was very little.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.tiktok.com/@doctoktopus\">popular TikTok saga\u003c/a> was launched with the father narrating the tale of Terrance the cephalopod, using a faux British accent generated by the social media app. Eventually, hundreds of thousands of people were following.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7347009867028270382\" data-video-id=\"7347009867028270382\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AW SHUCKS. \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"saltwater\" href=\"https://www.tiktok.com/tag/saltwater?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwater\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"♬ Reggae Relaxante Base - Dance Comercial Music\" href=\"https://www.tiktok.com/music/Reggae-Relaxante-Base-7146231087398668290?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Reggae Relaxante Base – Dance Comercial Music\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>Within weeks, the tale took a surprise turn when it was learned Terrance was actually a female as she laid some 50 eggs that the family initially assumed were unfertilized. Several weeks after that, teeny near-transparent octopus babies began hatching and were given names like Rocket Larry, Squid Cudi, Swim Shady, Jay-Sea and Sea-Yoncé.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7353825745661250862\" data-video-id=\"7353825745661250862\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AN OCTOPOSSE \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"octomom\" href=\"https://www.tiktok.com/tag/octomom?refer=embed\" target=\"_blank\" rel=\"noopener\">#octomom\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7353825857968540462?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\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>Cal had burst into tears at the family dinner table when his father first announced that the local aquarium store had told him adopting an octopus would be possible.\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>Father and son together researched what was needed, deciding on a saltwater tank and water cycling system and ensuring they would be able to source food for the soft-bodied sea creature.\u003c/p>\n\u003cp>The family’s younger son Lyle and mom Kari also joined the project in their own ways. A family friend who is a reptile scientist has provided support and advice.\u003c/p>\n\u003cp>While female octopuses usually die soon after laying their eggs, Clifford said Terrance remains alive four months later.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7355098970932153646\" data-video-id=\"7355098970932153646\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> FB Marketplace IYKYK \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7355099371962583851?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\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>Clifford said the family has gained much from the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955125","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Aside from the physical, financial and emotional requirements of owning a species such as a bimac, you will learn a lot about yourself in the process,” the Arizona-born Clifford told TikTok followers in his app-generated accent. “There’s always some valve or seal that’s not completely closed, and your storm resistant carpet isn’t rated for gallons and gallons of seawater. You’ll learn that seawater and electricity don’t always get along.”\u003c/p>\n\u003cp>“You will learn new things and meet incredible people and will learn that wildlife is magnificent,” he added. “But most of all, you’ll learn to love a not-so-tiny octopus like Terrance.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7356635947531849002\" data-video-id=\"7356635947531849002\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> THANK YOU OCTO-NATION 🐙 ❤️ \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ Elevator Music (Music Background) - Music Background & Easy Listening Background Music & Haruto Nakamori\" href=\"https://www.tiktok.com/music/Elevator-Music-Music-Background-6841973391990212610?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Elevator Music (Music Background) – Music Background & Easy Listening Background Music & Haruto Nakamori\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/13956032/tiktok-octopus-terrance-two-spot-california-weird-pets","authors":["byline_arts_13956032"],"categories":["arts_1","arts_75"],"tags":["arts_9124","arts_8818","arts_2137","arts_2391","arts_8017"],"featImg":"arts_13956034","label":"arts"},"arts_13955656":{"type":"posts","id":"arts_13955656","meta":{"index":"posts_1591205157","site":"arts","id":"13955656","found":true},"guestAuthors":[],"slug":"deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","title":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","publishDate":1712691900,"format":"standard","headTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Deftones, System of a Down and The Mars Volta will play in San Francisco’s Golden Gate Park this August, inaugurating a new annual event on the same site as the Outside Lands music festival.\u003c/p>\n\u003cp>The one-day concert will take place in Golden Gate Park’s Polo Fields on Aug. 17, 2024 for an audience of up to 65,000 people. The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>[aside postID='news_11960570']Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n","blocks":[],"excerpt":"The one-day concert gets underway in Golden Gate Park's Polo Fields on Aug. 17, 2024.","status":"publish","parent":0,"modified":1712692603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":444},"headData":{"title":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF | KQED","description":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park.","ogTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","ogDescription":"","ogImgId":"","twTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","twDescription":"","twImgId":"","socialTitle":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF %%page%% %%sep%% KQED","socialDescription":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deftones, System of a Down and The Mars Volta will play in San Francisco’s Golden Gate Park this August, inaugurating a new annual event on the same site as the Outside Lands music festival.\u003c/p>\n\u003cp>The one-day concert will take place in Golden Gate Park’s Polo Fields on Aug. 17, 2024 for an audience of up to 65,000 people. The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11960570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\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>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_2427","arts_994","arts_1694","arts_905","arts_585","arts_700"],"featImg":"arts_13955665","label":"arts_140"},"arts_13955839":{"type":"posts","id":"arts_13955839","meta":{"index":"posts_1591205157","site":"arts","id":"13955839","found":true},"guestAuthors":[],"slug":"maggie-rogers-in-person-tickets-sale-chase-center","title":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love?","publishDate":1712872162,"format":"standard","headTitle":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>[aside postID='forum_2010101892062'] As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>[aside postID='arts_13831858']Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n","blocks":[],"excerpt":"Fans will have first crack at tickets the old-fashioned way: by waiting in line, in person. ","status":"publish","parent":0,"modified":1712872162,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":499},"headData":{"title":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love? | KQED","description":"Fans will have first crack at tickets the old-fashioned way: by waiting in line, in person. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955839/maggie-rogers-in-person-tickets-sale-chase-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101892062","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \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>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13831858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955839/maggie-rogers-in-person-tickets-sale-chase-center","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6926","arts_10278","arts_585","arts_700","arts_4802"],"featImg":"arts_13955842","label":"arts_140"},"arts_13955781":{"type":"posts","id":"arts_13955781","meta":{"index":"posts_1591205157","site":"arts","id":"13955781","found":true},"guestAuthors":[],"slug":"judee-sill-genius-lost-angel-documentary-review","title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","publishDate":1712859198,"format":"standard","headTitle":"A Judee Sill Documentary Ensures Her Musical Genius Won’t Be Forgotten | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","status":"publish","parent":0,"modified":1712859198,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":928},"headData":{"title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten | KQED","description":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\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>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\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/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_21958","arts_10278","arts_977","arts_769"],"featImg":"arts_13955793","label":"arts_140"},"arts_13927349":{"type":"posts","id":"arts_13927349","meta":{"index":"posts_1591205157","site":"arts","id":"13927349","found":true},"guestAuthors":[],"slug":"bay-area-hip-hop-1980s","title":"How Bay Area Hip-Hop Found Its Sound in the 1980s","publishDate":1680722857,"format":"aside","headTitle":"How Bay Area Hip-Hop Found Its Sound in the 1980s | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13927363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13927363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the mid-1980s, after years of street dance, DJing and graffiti sharing equal space, rapping took center stage. The Bay Area’s bass-heavy sound would arrive at the end of the decade. (Clockwise from top left: Too Short, MC Hammer, Dominique DiPrima, Club Nouveau, and Motorcycle Mike.) \u003ccite>(Steve Ringman/San Francisco Chronicle via Getty Images; Al Pereira/Michael Ochs Archives/Getty Images; SFSU Television Archives; Raymond Boyd/Getty Images; Hodisk Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: 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, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s a wintry January evening when Bas-1 brings me to Del the Funky Homosapien’s house in the East Bay. For much of the afternoon, Bas — the \u003ca href=\"https://eastbayexpress.com/old-school-fool-1/\">Oakland native\u003c/a> who’s worked with Digital Underground and released \u003ca href=\"https://www.youtube.com/results?search_query=bas-1+full+album+mentally+astute\">his own solo records\u003c/a> — has schooled me on the origins of the Bay Area hip-hop sound.\u003c/p>\n\u003cp>Bas lists numerous rappers from the ’80s, and not just Todd “Too Short” Shaw, the East Oakland rapper who famously hustled homemade cassette tapes. I’ve never heard most of the names Bas mentions: MC Chocolate Milk, Windell Baby Doll, Davy Def, Buddy Bean, Reggie Reg Rock Ski.ter, M.C. Tracy, Rock Master Fresh, Nic Nack, Kimmie Fresh, and the Acorn Crew with Grandmaster Fresh (a rapper later known as “DJ Daryl” Anderson, famed for producing tracks like 415’s “\u003ca href=\"https://www.youtube.com/watch?v=yuZ6CAwZmys\">Side Show\u003c/a>” and 2Pac’s “\u003ca href=\"https://www.youtube.com/watch?v=fAJfDP3b5_U\">Keep Ya Head Up\u003c/a>”).\u003c/p>\n\u003cp>[aside postID='arts_13924126']Many of these early Bay Area rappers never put out a commercially available record. Instead, their work is mostly confined to locally distributed cassette tapes — collectors call them “gray tapes” — that are now nearly impossible to find. They publicly broadcasted these tapes throughout neighborhoods, utilizing boomboxes and car stereos as well as stereos at house parties. “None of them sound like Too Short,” says Bas. “Some of these people didn’t put out recordings, but they were known.”\u003c/p>\n\u003cp>Throughout the 1980s, Bay Area hip-hop was an artistic movement struggling for a distinct identity. The first half of the decade was defined by street dance and aerosol art as much as rap and DJing. But as local youth began to absorb the sounds emanating from national hotspots like New York, they created a distinctive style all their own — one that would make a global impact in the years to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Del’s house, Bas queues up an extraordinary live video clip of \u003ca href=\"https://www.youtube.com/watch?v=5u3eiG9BtdE\">Mac Mill, Emperor E, and DJ Anthony “K-os” Bryant\u003c/a> performing at \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>, a now-defunct annual event held at Lake Merritt, in 1988. (Alex “Naru” Reece, who organized the showcase where Mac Mill performed, clarified in a follow-up conversation that it didn’t happen during Festival at the Lake. He also says the showcase was filmed in 1986 for a 1988 video compilation.)\u003c/p>\n\u003cp>Mac Mill and Emperor E go back and forth, trading sound effects and dense Oakland slang as K-os cuts and scratches copies of Long Island band Original Concept’s deathless bass classic, “\u003ca href=\"https://www.youtube.com/watch?v=ai4VC0NUxl4\">Knowledge Me\u003c/a>.” Bas praises Mac Mill’s unusual “Arabian” style, which the latter deployed nearly a decade later with the 1995 single “\u003ca href=\"https://www.youtube.com/watch?v=5_f0TB3Igro\">Arabian Hump\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5u3eiG9BtdE\u003c/p>\n\u003cp>Then, Bas-1 calls Chris “CJ Flash” Jourdan, an OG who worked with Timex Social Club, the Berkeley teen band whose 1986 electro-funk classic, “\u003ca href=\"https://www.youtube.com/watch?v=jVce2IeYcTg\">Rumors\u003c/a>,” represented the first national breakthrough for Bay Area hip-hop culture. As Bas broadcasts CJ Flash’s voice from his phone through Del’s stereo equipment, CJ Flash spends the next hour or so describing a fledging scene where poppers and boogaloo dancers, not rappers or DJs, were the prime attractions. \u003c/p>\n\u003cp>These ensembles drew from a street-dance tradition that \u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\">dates back decades\u003c/a>. Their kinetic performances ignited crowds at high schools, house parties, and public spaces like Justin Herman Plaza and Union Square in San Francisco and UC Berkeley’s Sproul Plaza. Battles even took place on the street, with crews traveling to different neighborhoods around the region to seek out rivals. “You could meet with people on their turf and get down, and hopefully not get thumped in the process,” says CJ Flash. Many Bay Area hip-hop pioneers got their start in dance crews, including Club Nouveau’s Jay King (who pop-locked with The Unknowns), DJ King Tech (who was known as Wizard, and danced with Master City Breakers), and Flash himself (who \u003ca href=\"https://www.youtube.com/watch?v=ub1TtnI4dh8\">performed with UFO\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ub1TtnI4dh8\u003c/p>\n\u003cp>By contrast, rapping was a relatively new and undeveloped skill, the lowest element on the hip-hop totem pole. “Anybody could rap. Anybody could say a bunch of basic rhyme words with no style and flavor,” says Bas, noting as an aside that “most folks couldn’t understand the lyrics anyway.”\u003c/p>\n\u003cp>How is a discussion about street dancers connected to an exploration of the Bay Area hip-hop sound? It’s important to understand the conditions under which the genre emerged locally.\u003c/p>\n\u003ch2>Turntables, Casios and Homemade Tapes\u003c/h2>\n\u003cp>As KQED’s Eric Arnold explains in “\u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">The Bay Area Was Hip-Hop Before There Was Hip-Hop\u003c/a>,” foundational elements such as spoken word, funk, and rhythm & blues existed locally well before New Jersey trio Sugarhill Gang arrived with “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>” in the fall of 1979.\u003c/p>\n\u003cp>[aside postID='arts_13923978']At the same time, the Bay Area was not the Bronx, where breakbeat culture catalyzed and fermented. Bronx DJs, MCs and B-boys like Kool Herc, Grandmaster Flash, Afrika Bambaataa, Grandmaster Caz, the Rock Steady Crew and many others gained renown among mid-’70s New York youth long before “Rapper’s Delight.” By contrast, as CJ Flash explains, it took much of the 1980s for Bay Area youth to develop the cadences and rhythms we now associate with modern rap.\u003c/p>\n\u003cp>Back then, enterprising musicians couldn’t purchase studio software and distribute their own music on an internet platform like Soundcloud. Recording equipment was expensive. An unsigned artist needed the financial and business expertise to manufacture vinyl and cassettes with artwork, much less convince record stores like Leopold’s Records in Berkeley to carry them. (Recordable CD-Rs weren’t widely used until the 1990s.)\u003c/p>\n\u003cp>This helps explain why so many rappers utilized turntables and Casio keyboards, and then recorded their songs using the microphone input on relatively cheap stereo equipment. Captured on recordable cassettes like Maxell and TDK, some of these “gray tapes” simply had stickers with handwritten titles. More often, they weren’t labeled at all.\u003c/p>\n\u003cfigure id=\"attachment_13927410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13927410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A box of handmade Bay Area rap tapes, part of Naru’s home archives. \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those days, Too Short was an outlier, a Fremont High School student who canvassed East Oakland spots like Arroyo Park, \u003ca href=\"https://medium.com/@bayareahiphoparchive/in-conversation-with-56fae687e9c\">selling copies of “Game Raps”\u003c/a> at a few dollars a pop. Since Short was originally from Los Angeles, he relied on rap partner Tony “Freddy B” Adams to show him around the Town. The duo \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">made customized tapes for local drug dealers and players\u003c/a> in the city’s nightlife — now known as “special request” tapes — shouting out the customers’ names in their raps.\u003c/p>\n\u003cp>“Short was a hustler,” says CJ Flash. “He had a style of telling stories that was so outlandish and so funny that word got around.” Short and Freddy B developed the trademark “Biiiiitch!” catchphrase, and Short has often said that he and Freddy B intended to get famous together. Unfortunately, Freddy B was in prison when Short released his landmark “\u003ca href=\"https://www.youtube.com/watch?v=YwVJTvOO4yY\">Freaky Tales\u003c/a>” tape in 1987. (Adams is \u003ca href=\"https://www.dailyrepublic.com/all-dr-news/solano-news/local-features/from-too-hort-colleague-to-christian-missionary/\">now a minister\u003c/a> at Mount Calvary Baptist Church in Fairfield.)\u003c/p>\n\u003cfigure id=\"attachment_13927341\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/TooShort.SFExaminer.1984.jpg\" alt=\"\" width=\"676\" height=\"455\" class=\"size-full wp-image-13927341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TooShort.SFExaminer.1984.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TooShort.SFExaminer.1984-160x108.jpg 160w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">Too Short in 1984, at the age of 18. \u003ccite>(Katy Raddatz/San Francisco Examiner/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others like Sir Quick Draw, Mac Mill, and Chief Naked Head (later known as Premo; he passed away in January of 2023) simply gave away their tapes or let friends copy or “dub” the originals. As Richmond rapper \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike explained in a recent interview with Dregs One\u003c/a>, dubs of his tracks circulated as widely as Germany. “It was more or less trying to make a name for yourself…you had to make a tape,” adds CJ Flash.\u003c/p>\n\u003cp>Most importantly, Bay Area hip-hop in the ’80s was a primordial soup of youngsters figuring out what the local sound would be. The answers wouldn’t arrive until near the end of the decade. “The Bay Area was behind,” says CJ Flash, comparing it to more advanced regions like Los Angeles, South Florida, and New York. “We never thought about radio.”\u003c/p>\n\u003ch2>‘A Pivotal Moment’\u003c/h2>\n\u003cp>Alex “Naru Kwina” Hence remembers the first time he heard the Sugarhill Gang’s “Rapper’s Delight” as a 14-year-old preparing to attend Oakland High School. “When the song went off, everybody ran outside, like, ‘Did you hear that song?!” he laughs, calling it one of the best moments of his life. “It was a pivotal moment, bro. We literally started rapping the song and trying to remember it.” \u003c/p>\n\u003cp>Naru called himself Sir Quick Draw, an alias inspired by Hanna-Barbera cartoon \u003cem>Quick Draw McGraw\u003c/em> as well as the fact that, as a runner, “I was hella fast.” He took inspiration from Kurtis Blow, the Harlem rapper who scored major hits like 1980’s “\u003ca href=\"https://www.youtube.com/watch?v=qzl-2g5HhaI\">The Breaks\u003c/a>.” And Naru almost immediately began recording his voice on tape. His first original song was “The Caveman Rap,” which was inspired by Brooklyn rapper Jimmy Spicer’s 1980 single “\u003ca href=\"https://www.youtube.com/watch?v=nkGLco0tGqc\">Adventures of Super Rhyme\u003c/a>.” Naru can still recite those verses from memory: \u003cem>Now people come and take a trip in time with me / Back to that sweet year one million B.C.\u003c/em>\u003c/p>\n\u003cp>“I still got that old-school flavor, man,” he admits. “Hip-hop was more fun for me back then.”\u003c/p>\n\u003cfigure id=\"attachment_13927368\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naru.Boxes_.1.jpg\" alt=\"\" width=\"600\" height=\"840\" class=\"size-full wp-image-13927368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.Boxes_.1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.Boxes_.1-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Naru Kwina, who recorded under the names Sir Quick Draw and Em Cee Quick, poses with his home archives. \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rap in the Bay Area didn’t take off right away. “Most people would rap other people’s songs. They’d just repeat what they heard on the radio,” says Naru. Aspiring MCs honed their craft by congregating at Eastmont Mall, “trying to impress the girls, and getting our names on our derby jackets.” And when Tom Tom Club’s 1981 hit “\u003ca href=\"https://www.youtube.com/watch?v=ECiMhe4E0pI\">Genius of Love\u003c/a>” dropped? “Everybody rapped over that joint, man. Too many people.”\u003c/p>\n\u003cp>It’s worth remembering that hip-hop was a phenomenon developed essentially by Black and Brown children. Rapping, pop-locking, spray-painting aerosol art on neighborhood walls, even DJing: These were youthful forms of play and creative expression.\u003c/p>\n\u003cp>Bas, who grew up in North Oakland, remembers \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#at-fishermans-wharf-a-street-dance-destination-emerges\">popping and “roboting” at Pier 39 on Fisherman’s Wharf\u003c/a> in the late ’70s as a child. “You have people like Ben [James] from Live Incorporated doing pantomime and roboting,” he says, noting one of the better-known dance crews. Dancers competed for attention and tips that they could spend on Snickers bars and arcade games. “Battle-wise, you had to have skill and talent to a certain caliber in order to truly be out on the Wharf or on Market [and Powell] in front of the cable cars,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13927321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1298788791-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13927321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street dance crew called The Vita Family perform at Pier 39 in 1986. \u003ccite>(Liz Hafalia/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local newspaper stories focused on the emergence of hip-hop as a youth obsession. Enterprising teachers incorporated it into their lesson plans. On high-school campuses, fledgling DJs like Joseph Thomas “G.I. Joe” Simms Jr. at El Cerrito High School and groups like the Devastating Four proliferated. At house parties, mobile DJ crews spun the latest electro, boogie-funk, and rap hits.\u003c/p>\n\u003cp>Gatherings at schools, churches, and community centers typically reserved a few minutes for fledgling local rap and dance crews to perform. This was also the era of \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#nancy-reagan-visits-oakland-and-coins-the-phrase-just-say-no\">the Reagan Administration’s “Just Say No” campaign\u003c/a>, and kids were often asked to help spread an anti-drug message through raps. “Inspired by rapping groups such as Sugar Hill, Run DMC, Jeckyl and Hyde and Mell (sic) and the Furious Five, teen-agers create their own raps mostly for fun and to bring attention to themselves,” read a June 29, 1985, story in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13925415']In the first half of the decade, street dance remained a focal point. \u003ca href=\"https://www.npr.org/2022/12/04/1140504217/double-dutch-fantastic-four-holiday-classic\">Double Dutch jump-rope competitions\u003c/a> sponsored by McDonald’s drew thousands to Lincoln Square Center in Oakland. The San Francisco Street Breakers held a fundraising benefit, “Super Break Sunday,” at San Francisco’s Palace of Fine Arts in 1985. \u003c/p>\n\u003cp>Ironically, street dance “got played out” after the success of Hollywood movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’\u003c/em>, and rap music moved to the center of hip-hop culture. Quickening the process were concerts by Black music stars like the \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-fresh-fest-comes-to-oakland\">Fresh Festival\u003c/a>, the first national hip-hop tour, with headliners Run-DMC at the Oakland Coliseum. Local radio tentatively began to experiment with rap, notably KMEL-FM and its mix DJs such as Michael Erickson and \u003ca href=\"https://www.kqed.org/arts/13828163/watch-cameron-paul-give-a-masterclass-in-early-djing\">the late Cameron Paul\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927323\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FreshFest.Flyer_-1020x1517.jpg\" alt=\"\" width=\"640\" height=\"952\" class=\"size-large wp-image-13927323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-1020x1517.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-800x1190.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-768x1142.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-1033x1536.jpg 1033w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_.jpg 1345w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for the Fresh Festival, which arrived in Oakland in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1985, there was this incredible scene in the South Bay,” says Adisa “The Bishop” Banjoko. As a teen DJ in San Bruno “who looked like Urkel,” he remembers traveling far and wide to buy records, from Creative Music Emporium in San Francisco to T’s Wauzi in Oakland. Meanwhile, nightclubs like Mothers and Studio 47 brought a fusion of hip-hop, freestyle and techno. “San Jose had underage hip-hop teenage clubs, and no other city had those,” he says. (Banjoko later became a rapper, a journalist, and now promotes jiu-jitsu, meditation and chess with his company \u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">64 Blocks\u003c/a>.)\u003c/p>\n\u003cp>Back in Oakland, Naru continued making tapes. “I come from a musical family. My cousin’s the Maestro” — a.k.a. producer Keenan Foster, who has worked with Too Short, Dru Down, and Askari X — “and a lot of my family sings. I got a drum machine, a little Yamaha keyboard. I would play my bass lines. We had double-cassette decks.” He collaborated with Taj “Turntable T” Tilghman, “who was dope on the turntables.” Turntable T eventually bought a Roland TR-808 drum machine, the instrument du jour for def beat MCs. “When that 808 came, that was it. Everyone loved that deck. \u003cem>Boom!\u003c/em>”\u003c/p>\n\u003cp>“Gray tapes” that circulated weren’t the EP and album-length releases we’re familiar with today. Some tapes only had one song per side; or maybe just one song on one side, period. Artists were judged not only by their ability to rap engagingly for several minutes, but also to chop up a familiar beat like Whodini’s “\u003ca href=\"https://www.youtube.com/watch?v=o5r0i2ZAbCc\">Friends\u003c/a>,” transforming it into something fresh and original; or even make rudimentary 808 beats. For example, Too Short drew attention for “rapping the longest,” as Bas explains, leading to songs that lasted eight or nine minutes.\u003c/p>\n\u003cfigure id=\"attachment_13927334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Adisa.portrait-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" class=\"size-medium wp-image-13927334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-1020x870.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adisa Banjoko in the 1980s. \u003ccite>(Courtesy Adisa Banjoko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Those tapes were everywhere. Everyone was trying to see what was possible,” says Banjoko. In 1987, he began making raps under the name MC Most Ill. His first song was “Rhyme Junkie.” “The truth was, some of it was really cool but a lot of it actually also sucked, because [the art form] was brand new. … The quality control was not there.”\u003c/p>\n\u003cp>On August 18, 1984, the \u003cem>San Francisco Examiner\u003c/em> published an article called “Rapping with Too-Short,” the first story on the 18-year-old prodigy. Pacific News Service journalist Anthony Adams called Short’s songs “preacher-like yarns over pre-recorded music,” and noted that one of them was about automaker John DeLorean, whose conviction for cocaine trafficking made national news. Short claimed he and his partner Freddy B sold over 2,000 tapes. \u003c/p>\n\u003cp>The \u003cem>Chronicle-Examiner\u003c/em> also frequently interviewed \u003ca href=\"https://www.dominiquediprima.com/\">Dominique “Lady D” DiPrima\u003c/a>, a New York transplant and San Francisco State University student who rapped, sung, and organized events. DiPrima possessed a rich family pedigree — her father was the jazz writer Amiri Baraka, her mother the beat poet Diane DiPrima. In late 1984, \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">KRON-TV recruited her to host \u003cem>Home Turf\u003c/em>\u003c/a>, a Saturday-afternoon program that became appointment viewing for local teens.\u003c/p>\n\u003cp>“Everyone had a crush on Dominique,” says Naru, giggling.\u003c/p>\n\u003cfigure id=\"attachment_13927320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-800x541.png\" alt=\"\" width=\"800\" height=\"541\" class=\"size-medium wp-image-13927320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-1536x1039.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_.png 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique DiPrima, pictured here hosting a 1987 episode of ‘Home Turf’ on KRON-4. \u003ccite>(SFSU Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Bay Area Rap Record Opens the Floodgates\u003c/h2>\n\u003cp>One of the under-acknowledged aspects of early hip-hop is the way elder Black musicians shepherded young artists into the recording industry.\u003c/p>\n\u003cp>The late Sylvia Robinson, who was inducted into the Rock & Roll Hall of Fame in 2022, initially emerged in the mid-’50s as one-half of Mickey & Sylvia, who scored a national hit with “\u003ca href=\"https://www.youtube.com/watch?v=5SwMB9v1pQ4\">Love Is Strange\u003c/a>.” As a ’70s solo artist and producer, Robinson made slinky, Eartha Kitt-like erotic disco capers such as “\u003ca href=\"https://www.youtube.com/watch?v=NA2X1040_gY\">Pillow Talk\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EPScEJ66_m4\">Sweet Stuff\u003c/a>.” After discovering hip-hop when she heard DJ Lovebug Starski at a party, Robinson formed Sugar Hill Records, and turned three rapping teens she found in New Jersey into its first act, the Sugarhill Gang.\u003c/p>\n\u003cp>This process of soul veterans working with young people resulted in independent 12” singles that mirrored — if not yet accurately capturing — the nascent rap sound at a time when big companies virtually ignored it. With his Mercury Records contract, Kurtis Blow was the only act with a major album deal. A handful of other pioneers like DJ Hollywood scored one-off 12” deals.\u003c/p>\n\u003cp>A similar process played out in the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2R_h9BCuvBE\u003c/p>\n\u003cp>The first Bay Area rap record is widely considered to be Phil “Motorcycle Mike” Lewis and the Rat Trap Band’s “\u003ca href=\"https://www.youtube.com/watch?v=p4Odk2Vu70s\">Super Rat\u003c/a>,” a 1981 boogie-funk single notoriously released by East Oakland heroin kingpin Milton “Mickey Mo” Moore’s Hodisk Records. The name “Hodisk” was a cheeky reference to his onetime side business as a pimp. (Moore has since reformed and is now a pastor in West Oakland.) In fact, Mickey Mo boasts in his 1996 autobiography \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9qy6RNV6f5w\">The Man: The Life Story of a Drug Kingpin\u003c/a>\u003c/em>, “Hodisk Records became the first record company on the West Coast to release a rap record.” (The first L.A. rap record, Disco Daddy and Captain Rapp’s “The Gigolo Rapp,” was also released in 1981.)\u003c/p>\n\u003cp>Mickey Mo has another claim to rap lore: In 1980, he \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-first-rap-performance-on-a-major-stage\">helped finance an Oakland Coliseum concert\u003c/a> headlined by L.A. funk band War, with the Sugarhill Gang as a supporting act. Journalist Lee Hildebrand’s pre-concert interview with the Gang in the \u003cem>Oakland Tribune\u003c/em> was the first mention of rap music in the local press. A second funk-rap novelty, Steve Walker’s “\u003ca href=\"https://www.youtube.com/watch?v=vB9jCLUWwBY\">Tally Ho!\u003c/a>,” also appeared in 1981. In 1983, San Francisco’s Debo & Brian released the electro-funk EP \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=vgv_AfTbEng\">This Is It\u003c/a>\u003c/em>. The momentum had started.\u003c/p>\n\u003cp>“I had made this vow that I would never ever do anything having to do with rap,” laughs Claytoven Richardson. During his long career, the Berkeley-born, Oakland-raised Richardson worked with Aretha Franklin, Kenny G, Whitney Houston, Elton John, and Celine Dion. But in the early ’80s, he was best known as a singer, producer, and arranger with hot dancefloor jazz-funk bands like Bill Summers & Summers’ Heat. His anti-rap stance reflected the music industry at large in the 1980s. “Nobody had the foresight to see that it would morph and change and do the things that it’s done,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13927369\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ClaytovenRichardson.jpg\" alt=\"\" width=\"625\" height=\"352\" class=\"size-full wp-image-13927369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ClaytovenRichardson.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ClaytovenRichardson-160x90.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Claytoven Richardson pictured in March 2023 in Los Angeles, California. \u003ccite>(Steven Simione/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Richardson couldn’t avoid the increasingly popular genre when he scored a production deal at Fantasy Records, the onetime Berkeley jazz label also known for innovative acts like Sylvester and Cybotron, as well as one-off singles generated by a “throw it against the wall and see if it sticks” philosophy. \u003c/p>\n\u003cp>One of the records Richardson produced in that anything-goes environment was Mighty Mouth’s satirical complaint, “\u003ca href=\"https://www.youtube.com/watch?v=VU1hAFnrtU8\">I’m All Rapped Out\u003c/a>.” (He wasn’t the only one annoyed over rap; perhaps out of wishful thinking, a 1985 \u003cem>San Francisco Chronicle\u003c/em> article referred to the “fast-fading hip-hop scene.”) A vocalist named Lawrence Pittman didn’t show up for the session, so Richardson performed the lyrics himself. However, Pittman showed up to rap on Mighty Mouth’s second single, “\u003ca href=\"https://www.youtube.com/watch?v=IqfQcLbemE4\">The Roaches\u003c/a>,” which parodied Whodini’s electro hit, “Freaks Come Out at Night.”\u003c/p>\n\u003cp>Other scattered local raps appeared between 1985 and 1986. Former boogaloo dancer Jay King, just home from a stint in the Air Force and splitting time between Sacramento and Vallejo, formed a group called Frost and released “\u003ca href=\"https://www.youtube.com/watch?v=hObIekxeoSg\">Battle Beat\u003c/a>.” His friends Denzil Foster & Thomas McElroy produced it, as well as another electro-rap track, Sorcerey’s “\u003ca href=\"https://www.youtube.com/watch?v=6ap6uw-kX8o\">Woo Baby\u003c/a>.” Pittsburg rapper James “Red Beat” Briggs issued “\u003ca href=\"https://www.youtube.com/watch?v=a7dUlMEZUSc\">Freak City\u003c/a>,” which was later remixed by N.W.A. co-founder Arabian Prince. And there was Rodney “Disco Alamo” Brown, from Richmond, whose 12” “\u003ca href=\"https://www.youtube.com/watch?v=6K-pXg1DY98\">The Task Force\u003c/a>” is \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#richmonds-task-force-memorialized-on-wax\">an early example\u003c/a> of Bay Area rap chronicling street life.\u003c/p>\n\u003cfigure id=\"attachment_13927313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1206295164-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" class=\"size-medium wp-image-13927313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short, pictured at his manager’s house in Oakland on September 21, 1987. \u003ccite>(Steve Ringman/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most importantly, Too Short’s rising buzz led to a deal with deep East Oakland entrepreneur Dean Hodges’ 75 Girls label. Released in 1985, the resulting \u003cem>Don’t Stop Rappin’\u003c/em> was the first official album by a local rapper. While fans of a certain age still treasure protean electro-funk tracks like “\u003ca href=\"https://www.youtube.com/watch?v=L2ywke376NQ\">Girl\u003c/a>” — which E-40 referenced on his 1998 hit, “Earl, That’s Yo Life” — the album couldn’t compare to his raunchy and wickedly hilarious “special request” tapes.\u003c/p>\n\u003cp>It was during this period that Naru finally got his chance in the studio. Since 1984, UC Berkeley station \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#college-radio-makes-its-mark\">KALX-FM\u003c/a> served as home to “Music for the People,” a Sunday-morning community affairs and music show hosted by the late Charles “Natty Prep” Douglass, as well as DJs like Billy “Jam” Kiernan (who also broadcast on San Francisco State University station KUSF-FM), David “Davey D” Cook, and funkster Rickey “The Uhuru Maggot” Vincent. When Naru won \u003ca href=\"https://wfmu.org/playlists/shows/107287\">a 1986 rap contest hosted by Billy Jam on KALX\u003c/a>, he earned a deal with Bay Wave Records, a local imprint distributed by Hollywood-based Macola Records. Richardson was hired to produce the session.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dLlNn1Zh1ww\u003c/p>\n\u003cp>“[Quick Draw] was a great rapper. He had a lot of great lyrics and ideas,” says Richardson. On “\u003ca href=\"https://www.youtube.com/watch?v=dLlNn1Zh1ww\">Rapaholic\u003c/a>,” Richardson and session engineer Michael Denten (who later worked with Spice 1 and E-40) accompanied Quick Draw’s dexterous and energetic raps with sharp-angled percussive edits and sound effects reminiscent of The Art of Noise and Mantronix.\u003c/p>\n\u003cp>“Respect to Claytoven,” says Naru, who not only continues to make music but also owns a company, \u003ca href=\"http://hiplearning.org/\">Hip Learning\u003c/a>, that promotes childhood education with rap. He wasn’t entirely satisfied with the “Rapaholic” experience: “They made the record sound hella more polished. It was [supposed to be] a little more underground than that.” However, he adds, “[Claytoven] taught us a lot in the studio about the mics they use and how to mix. It was a good experience.”\u003c/p>\n\u003cfigure id=\"attachment_13927411\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi.jpg\" alt=\"\" width=\"600\" height=\"889\" class=\"size-full wp-image-13927411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied flyer advertising Sir Quick Draw’s single ‘Rapaholic.’ \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Radio Breakthrough — And a Kid Named Hammer\u003c/h2>\n\u003cp>As the trajectory of Bay Area hip-hop waxed and waned, three catalyzing moments brought the scene into focus.\u003c/p>\n\u003cp>The first was an R&B track. Timex Social Club’s “Rumors” captured the pulse of Bay Area youth culture, from Marcus Thompson and Alex Hill’s skittering electro-funk bass and drums to singer Michael Marshall’s distinctly regional accent and coy recitation of schoolyard gossip (“Did you hear the one about Michael? Some say he must be gay…”) Produced by Jay King and Denzil Foster and released on King’s Jay Records in February 1986, it mushroomed into a top ten \u003cem>Billboard\u003c/em> pop hit and dominated radio all year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jVce2IeYcTg\u003c/p>\n\u003cp>But by the summer, Timex Social Club was falling apart and trading accusations with King over money and credit. The group’s only album \u003cem>Vicious Rumors\u003c/em> — by that point it was just Michael Marshall — featured drum programming from CJ Flash and a shout-out to KALX’s Natty Prep, who helped break “Rumors” on his “Music and Life” show. Marshall retreated from the spotlight before \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">re-emerging as the hook man\u003c/a> on the Luniz’ 1995 smash “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\">I Got 5 on It\u003c/a>.”\u003c/p>\n\u003cp>After breaking with Timex Social Club, King formed a group called Jet Set and signed a deal with Warner Bros. Records. The group changed their name to Club Nouveau before debuting with the single “\u003ca href=\"https://www.youtube.com/watch?v=lKWhkjXV5uM\">Jealousy\u003c/a>.” A follow-up, the Bill Withers cover “\u003ca href=\"https://www.youtube.com/watch?v=kbyjaUJWWmk\">Lean on Me\u003c/a>,” went to number-one on the \u003cem>Billboard\u003c/em> Hot 100, while Club Nouveau’s debut album \u003cem>Life, Love & Pain\u003c/em> went platinum.\u003c/p>\n\u003cfigure id=\"attachment_13927310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1346275851-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" class=\"size-medium wp-image-13927310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singers Samuelle Prater, Jay King and Valerie Watson of Club Nouveau performs at the U.I.C. Pavilion in Chicago, Illinois in August 1987. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King’s growing stardom rippled across the Bay and reached Felton Pilate, the Vallejo keyboardist, singer, and producer best known as a driving force in Bay Area funk stars Con Funk Shun. The two had already worked together on King’s onetime rap group Frost; Pilate engineered that record. Pilate soon added one of King’s projects, Sacramento R&B/rap group New Choice, to a growing slate of projects he produced and engineered at his Felstar Studios.\u003c/p>\n\u003cp>Felstar Studios was the culmination of work he had begun while not touring and rehearsing with Con Funk Shun. At his home studio on Sandpiper Drive in Vallejo, Pilate helped assemble records for fledgling local artists. “I never thought of myself as just a studio,” he says, where he simply records his clients. “I have a little experience here. I’ve got several gold albums. Here, let me pass on some of this knowledge.” When asked if he considered himself a mentor, he demurs, even though that’s arguably what he was. \u003c/p>\n\u003cp>When Pilate opened Felstar Studios on Sonoma Boulevard, his trusted associate was James Earley, a young engineer whom he credits for adding a more contemporary sensibility to the Studios’ output. Among the locals who came to them were M.V.P., a family trio consisting of Earl Stevens, Danell Stevens, and Brandt Jones. Their 1988 12”, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=sfLuAL6DueI\">The Kings Men\u003c/a>\u003c/em>, also included Tanina Stevens and Angela Pressley, who called themselves Sugar ‘N’ Spice. The members of M.V.P. updated their stage names to E-40, D-Shot and B-Legit, added Tanina as Suga T, and \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-clicks-down-dirty-ushers-in-mobb-music-era\">evolved into The Click\u003c/a>, arguably becoming the most famous rap group to emerge from Vallejo.\u003c/p>\n\u003cfigure id=\"attachment_13927370\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/MVP.e-40.jpg\" alt=\"\" width=\"700\" height=\"700\" class=\"size-full wp-image-13927370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/MVP.e-40.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/MVP.e-40-160x160.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">M.V.P., a 1988 Vallejo rap group featuring Busy D, E-40 and Legit (L–R). The three would later add E-40’s sister Suga T and become known as The Click. \u003ccite>(Gerry Ericksen / Rushforce Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1986, Pilate and Earley both had solo deals at Berkeley’s Fantasy Records. It was there that Pilate met a former Oakland A’s batboy named Stanley “Holyghost Boy” Burrell through Fantasy Records producer Fred L. Pittman. “Fred would often hire me to do keyboard arrangements for him,” says Pilate. When Pittman asked him to play keys for Holyghost Boy, Pilate responded, “Hey Fred, why don’t you let me take the reins on this?”\u003c/p>\n\u003cp>As a classically trained jazz and classical musician, Pilate didn’t think much of rap, even though Con Funk Shun not only included a rap verse on a 1982 single, “\u003ca href=\"https://www.youtube.com/watch?v=GQ9GHVTI-EE\">Ain’t Nobody Baby\u003c/a>”; but also made “\u003ca href=\"https://www.youtube.com/watch?v=kmmzvN7raB0\">Electric Lady\u003c/a>,” a 1985 hit produced by Larry Smith of Whodini fame that landed in the top five of \u003cem>Billboard\u003c/em>’s Black Singles chart. “Musically, I wasn’t a fan, but as a producer, I said, ‘I can do this,’” he says. “Like everyone else, Con Funk Shun wanted to be relevant, and rap was all over the radio.”\u003c/p>\n\u003cp>The tracks Burrell brought to Pilate consisted of him rapping over sparse Yamaha RX5 drum-machine parts. Pilate responded by going into “study mode.” He listened to the rap stuff that was getting airplay like Doug E. Fresh & the Get Fresh Crew. As a result, the skittering percussion on Burrell’s “\u003ca href=\"https://www.youtube.com/watch?v=akVWFiptGNY\">Let’s Get It Started\u003c/a>” is reminiscent of the go-go-inspired arrangements on Doug E. Fresh hits like “\u003ca href=\"https://www.youtube.com/watch?v=6sGw9GSCiYU\">The Show\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-UtqnKIF7kE\">All the Way to Heaven\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13927325\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" class=\"size-medium wp-image-13927325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer films the music video for ‘Let’s Get It Started’ at Sweet Jimmie’s nightclub in downtown Oakland, March 19, 1988. \u003ccite>(Deanne Fitzmaurice/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My thing was to make it more music-driven than beat-driven,” says Pilate. In many cases, he simply “listened to what [Burrell] was talking about and wrote a straight R&B song underneath it.” He also gives credit to Earley, who helped refine the drum programming and brought “that younger ear” to the project. They incorporated stock horn stabs from a battery of Juno, Roland, and Yamaha drum machines. Meanwhile, Kent “The Lone Mixer” Wilson and Bryant “D.J. Redeemed” Marable added rhythmic scratches by cutting up Curtis Mayfield and Beastie Boys records.\u003c/p>\n\u003cp>After the demos were finished, Fantasy Records dropped Pilate, Earley and Burrell from their deals. “They weren’t really sure how to market any of us,” says Pilate. Then, he chuckles, “The next time I ran into the Holyghost Boy, he had changed his name to MC Hammer.” After forming Bustin’ Records in Fremont with financial help from Oakland A’s ballplayers like Mike Davis and Dwayne Murphy, Hammer turned the Pilate demos into three 12”s — “Ring ’Em,” “The Thrill Is Gone” and “Let’s Get It Started” — and the 1987 album \u003cem>Feel My Power\u003c/em>. “I was like, man, those were rough mixes! You were supposed to come back and let me fix that!” Pilate laughs.\u003c/p>\n\u003cp>Everyone involved in Bay Area hip-hop has vivid memories of MC Hammer blowing up. Near-mythical stories of his local takeover abound, like attending local concerts surrounded by a massive crew; or tearing up the dance floor at The Silks, a popular nightclub in Emeryville.\u003c/p>\n\u003cfigure id=\"attachment_13927324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Hammer.Pilate-800x727.jpg\" alt=\"\" width=\"800\" height=\"727\" class=\"size-medium wp-image-13927324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-1020x926.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer and Fenton Pilate in modern times. Pilate engineered and co-produced MC Hammer’s first recordings. \u003ccite>(Courtesy Felton Pilate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s worth revisiting \u003cem>Feel My Power\u003c/em> and 1988’s \u003cem>Let’s Get It Started\u003c/em>. Released after Hammer signed with Capitol Records, \u003cem>Let’s Get It Started\u003c/em> found Hammer and Pilate remixing those original demos while adding vital new tracks like “\u003ca href=\"https://www.youtube.com/watch?v=9sZVcXzSE3M\">Pump It Up\u003c/a>.” The results are bombastic and vibrant dance-floor jams as ecstatic as anything by Kid ‘n’ Play and Salt-n-Pepa. Hammer’s subsequent leap into pop superstardom with 1990’s \u003cem>Please Hammer Don’t Hurt ‘Em\u003c/em> and the ubiquity of “U Can’t Touch This” obscure just how great those early tracks are.\u003c/p>\n\u003ch2>Eight Woofers in the Trunk\u003c/h2>\n\u003cp>MC Hammer’s major-label arrival in 1988 capped a year of Bay Area hip-hop on the cusp of national exposure. \u003c/p>\n\u003cp>After Too Short issued \u003cem>Born to Mack\u003c/em> in the fall of 1987 on his Dangerous Music label, Jive Records picked it up. (Dangerous Music also issued \u003cem>Dangerous Crew\u003c/em>, a compilation of vital Bay Area acts like Spice-1, Rappin’ 4-Tay, and the female duo Danger Zone.) Digital Underground’s playful and psychedelic “\u003ca href=\"https://www.youtube.com/watch?v=5zQ1frcgSbI\">Underwater Rimes\u003c/a> / \u003ca href=\"https://www.youtube.com/watch?v=VpBNB20wVo0\">Your Life’s a Cartoon\u003c/a>” led to a deal with Tommy Boy. Local talent waited in the wings, including rapper/producer Paris (A.T.C.’s “\u003ca href=\"https://www.youtube.com/watch?v=yHpiPWfOBk4\">Cisco Jam\u003c/a>”), Sway & King Tech (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=FBJujmVXiwE\">Flynamic Force\u003c/a>\u003c/em> EP), Dangerous Dame (“\u003ca href=\"https://www.youtube.com/watch?v=t9Frj4j09GE\">The Power That’s Packed\u003c/a>”), and MC Twist and the Def Squad (“\u003ca href=\"https://www.youtube.com/watch?v=4lZz7qhjfjw\">Just Rock\u003c/a>”). And the late Cameron Paul, known for his “Beats & Pieces” breakbeats, remixed Queens trio Salt-n-Pepa’s 1987 track “\u003ca href=\"https://www.youtube.com/watch?v=SPkdk1oMmtE\">Push It\u003c/a>” into a global phenomenon.\u003c/p>\n\u003cfigure id=\"attachment_13828164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/CameronPaul-800x496.jpg\" alt=\"Cameron Paul reveals his mixing secrets.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13828164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Paul, who provided the spine of New Orleans bounce music with ‘Brown Beats’ and recorded a smash-hit remix of Salt ‘n’ Pepa’s ‘Push It,’ was also a prominent club and radio megamix DJ in San Francisco. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Incidentally, the first local group to score a major label deal wasn’t Hammer, but Surf MCs, a Berkeley group that Profile Records promoted as a Beastie Boys-like rap/rock crossover. Their 1987 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ojCAqdBA7uA\">Surf or Die\u003c/a>\u003c/em> proved a flop.\u003c/p>\n\u003cp>Yet the third moment that catalyzed Bay Area hip-hop wasn’t a singular record like Timex Social Club’s “Rumors,” or an artist like Hammer and Short. It was the sound of walloping, all-enveloping bass.\u003c/p>\n\u003cp>Made for surgically enhanced car and jeep stereos, the bass colossus is as much a feature of hip-hop in the mid-’80s as the pounding Roland TR-808 machine, from Rick Rubin’s production on LL Cool J’s “Rock the Bells” and T La Rock’s “It’s Yours” to Rodney O and DJ Joe Cooley’s “Everlasting Bass” and Dr. Dre’s work on Eazy-E’s “The Boyz-N-The Hood.” It also mirrors the crack-cocaine epidemic that began to blight and distort communities across the country. As street life turned treacherous, the specter of the hustler, and whether to become one, cast a growing shadow.\u003c/p>\n\u003cp>[aside postID='arts_13925761']“Then the new style came, the bass got deeper / You gave up the mike and bought you a beeper / Do you want to rap or sell coke? / Brothers like you ain’t never broke,” Too Short memorably rapped on his 1989 hit, “\u003ca href=\"https://www.youtube.com/watch?v=CvfUUOO0xoM\">Life Is…Too Short\u003c/a>.”\u003c/p>\n\u003cp>Banjoko recalls how the presence of gangs transformed local shows. “You would see a bunch of people dressed up together [in the same gear], and you might assume they were a rap or dance crew. They were young drug lords,” he says. “You could get trampled, beat up or robbed by any of them. I remember 69 Ville being massively deep at the Fresh Fest and the [Run-DMC] Raising Hell tour. They were terrifying, straight up. You were going to tuck your chain, you were going to take your Kangol off, or they were going to take it.”\u003c/p>\n\u003cfigure id=\"attachment_13927326\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/HughEMC.jpg\" alt=\"\" width=\"600\" height=\"409\" class=\"size-full wp-image-13927326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/HughEMC.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/HughEMC-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh EMC, the San Francisco rapper whose 1988 single ‘It’s the Game’ unflinchingly chronicled street life. \u003ccite>(Soul Sonic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rap imagery became more honest and explicit. Some like Richmond rapper Magic Mike, San Francisco’s Hugh EMC (“\u003ca href=\"https://www.youtube.com/watch?v=b_p7L0eJfKI\">It’s the Game\u003c/a>”), and Oakland’s Hollywood (“\u003ca href=\"https://www.discogs.com/release/641778-Hollywood-Stay-Heart-And-Soul-Raps-Just-A-Battlefield\">Gangster Rap\u003c/a>”) seemed to embrace the hustler ethos, while cautiously adding verses about the consequences of that lifestyle. Then there was Oakland rapper Morocco Moe, whose “\u003ca href=\"https://www.youtube.com/watch?v=ogNoOCIVPrI\">Task\u003c/a>” criticized how law enforcement brutalized communities in the War on Drugs: “Their intentions are good/But their actions are wrong.”\u003c/p>\n\u003cp>“Every Black neighborhood was infested” with crack, says Vallejo producer Khayree Shaheed. “There was an influx of money coming into young Black men, but there was also a lot of death occurring.” The epidemic also marked his entry into the world of rap.\u003c/p>\n\u003cp>As a descendant of the Bay Area’s vaunted funk tradition, Khayree spent the ’70s and early ’80s playing bass guitar for bands like Grand Larceny, Body Mind & Spirit and Touch of Class (with keyboardist Rosie Gaines, who later joined Prince & the New Power Generation). His travels took him across the U.S. and even to Japan, where Touch of Class lived and performed for several months. (Though his bands made demos, there are no official recordings to date.) When asked about the first time he heard rap, Khayree cites “jazzoetry” ensembles like The Last Poets, not the Sugarhill Gang. And as a youth growing up on Lofas Place in Vallejo, he spent plenty of time following Con Funk Shun, hoping to apprentice with the biggest band in the city.\u003c/p>\n\u003cfigure id=\"attachment_13927412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-800x510.jpg\" alt=\"\" width=\"800\" height=\"510\" class=\"size-medium wp-image-13927412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-1536x980.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo musician Khayree Shaheed, playing bass onstage in 1979. \u003ccite>(Courtesy Khayree Shaheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Khayree was in his mid-20s when Rod “I.C.E.” Andrews and Dan “Luvva D” Morrison a.k.a. the Luvva Twins brought Khayree a demo they had made on a Casio keyboard, “Hubba Head.” The song title was slang for a crack addict, and the duo described the “hubba head’s” descent into addiction with charismatic punch. They arranged the music and rapped most of the lyrics, while Khayree dropped a short verse and added guitar.\u003c/p>\n\u003cp>Khayree had already spent time at Pilate’s home studio, honing his writing and production skills. (“I always enjoyed working with him,” says Pilate.) Now, he brought “Hubba Head” to Pilate, and the two prepared it for release. Setting up his own label, Big Bank Records, Khayree distributed two hundred copies of the 12” to DJs and influencers. “The record was super popular in the streets,” says Khayree.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pArkWvlAebg\u003c/p>\n\u003cp>After “Hubba Head,” Khayree began working with Jay King, a fellow graduate of Vallejo High School. The opportunity to write and produce New Choice’s 1987 single “\u003ca href=\"http://<a%20href=\" https:>Cold Stupid\u003c/a>” and most of the quintet’s 1988 debut, \u003cem>At Last\u003c/em>, gave him important experience on a major project and financial stability. By fusing bass, funky R&B and hip-hop breakbeats, New Choice reflected a parallel R&B movement that both influenced and was inspired by the hip-hop scene. Similar Bay Area acts included Oakland’s Tony! Toni! Toné!, who parlayed backing sessions for Sheila E. and Tramaine Hawkins into a major-label deal.\u003c/p>\n\u003cp>Flush from his experience with New Choice, Khayree was ready to start his own company. “I’m listening to EPMD’s \u003cem>Strictly Business\u003c/em>,” he says, inspiring the name of his second label, Strictly Business Records. He knew that Mike “The Mac” Robinson, who also grew up on Lofas Place, was a rapper. Robinson hailed from a musical family: his uncle Steve “Silver” Scales was a well-traveled Vallejo funk percussionist who played with Talking Heads, Tom Tom Club, and the B-52s. (Though it would be a delicious coincidence, Scales didn’t perform on “Genius of Love.”) Khayree encouraged Robinson to take music more seriously. Meanwhile, Robinson’s mother drew the memorable Strictly Business logo: an open briefcase, ready for business.\u003c/p>\n\u003cp>In 1988, Khayree released The Mac’s three-song EP, “\u003ca href=\"https://www.discogs.com/release/805531-The-Mac-Im-Ah-Big-Mac\">I’m Ah Big Mac\u003c/a>.” Heard now, what immediately stands out is the unique \u003cem>tone\u003c/em> of the bass. “We used synthesizers that had dumb-fat bass lines,” explains Khayree in reference to himself and Too Short as well as future Bay Area colleagues like Ant Banks. By comparison, he says, other regional scenes relied on a “natural” bass guitar or samples from records. “You feel it through your whole body. … You can get it with a bass guitar, depending on how you EQ the bass and what you run your guitar through. But you’re \u003cem>never\u003c/em> going to touch the subs and the depth of a Minimoog, of the Oberheim Ovx, or the Roland Juno 106.” The EP’s highlight is its B-side “The Game Is Thick,” which centers on a sample of Prince’s “D.M.S.R.” \u003c/p>\n\u003cfigure id=\"attachment_13927371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/TheMac.GameisThick-800x498.jpg\" alt=\"\" width=\"800\" height=\"498\" class=\"size-medium wp-image-13927371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick.jpg 1537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khayree and The Mac (L–R), pictured on the cover of The Mac’s ‘The Game is Thick.’ \u003ccite>(Phil Bray / Strictly Business Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1989, Khayree remixed and re-released “\u003ca href=\"https://www.youtube.com/watch?v=tCxGl7Ok1YI\">The Game Is Thick\u003c/a>” as a standalone 12” with a memorable cover photo: Khayree looking super-clean in a grey suit, clasping a briefcase, with The Mac in a red-and-black bomber jacket. Khayree calls the style “pimping.” “We didn’t mean pimping so much as getting prostitutes to work,” he explains. “It’s an attitude, and it’s a musical style.” The “game” is a metaphor for life in the Black community. Street slang illustrated complex situations, whether it was dealing with the repercussions of a raging crack epidemic, or simply navigating the tensions of everyday living. Meanwhile, The Mac’s “cool, silky, pimpish” flow and Khayree’s synthesized bass production proved a clear predecessor to the ’90s mob-music sound that took over Bay Area rap.\u003c/p>\n\u003cp>[aside postID='arts_13924167']Upon release, “The Game Is Thick” didn’t make a major impact, and most copies went to local DJ pools. “We promoted records out of the trunk,” says Khayree. “We went from Bobby G’s Soul Disco in San Francisco to [Rico Casanova’s record pool] The Pros in Oakland.” Still, “The Game Is Thick” remix received a mention in Davey “D” Cook’s April 7, 1989 “Beats & Breaks” column for \u003cem>BAM\u003c/em> Magazine. “Let me tell you, it’s hyped to the max,” Davey D wrote.\u003c/p>\n\u003cp>With Khayree’s encouragement, the Mac taught himself how to produce music with synth keyboards. He also introduced Khayree to another Vallejo artist, Andre “Mac Dre” Hicks, who became Strictly Business’ second act. By the time The Mac was shot and killed on July 23, 1991 in what Khayree calls “a case of mistaken identity,” the two had recorded dozens of tracks and released a third and final 12” protesting police violence, 1990’s “Enuff of Tis Sh-t!” One of The Mac’s beats posthumously appeared on Mac Dre’s 1993 track, “\u003ca href=\"https://www.youtube.com/watch?v=slA_s7tSjMU\">The M.A.C. & Mac D.R.E.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13927413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" class=\"size-medium wp-image-13927413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khayree with Kool Moe Dee at the 1988 BRE Conference in Los Angeles. \u003ccite>(Courtesy Khayree Shaheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mike had a big, big loving heart,” remembers Khayree, sounding wistful. He emphasizes how The Mac left behind a daughter, “Mac” Reina Robinson, and a pregnant girlfriend who gave birth to his son, Mike. At one point, Khayree plays a voicemail of The Mac passionately singing a funky, swinging hook, as if to counteract the stereotype that rappers aren’t musicians. He talks about how The Mac’s way of playing simple, evocative keyboard notes for maximum effect echoes in the work of his famed protégé, Mac Dre. “I miss him,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bay Area rap broke wide at the end of the decade, leading to a 1989 story in the \u003cem>New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/1989/09/10/arts/rap-by-the-bay-oakland-emerges-as-a-force-in-pop.html\">Rap by the Bay: Oakland Emerges as a Force in Pop\u003c/a>.” Not every local pioneer who laid the groundwork would enjoy the fruits of that success. But their stories are essential to understanding how local hip-hop came of age, and everything that came after.\u003c/p>\n\n","blocks":[],"excerpt":"Casio keyboards, homemade tapes and the boundless creativity of Bay Area youth flourished in the 1980s hip-hop scene.","status":"publish","parent":0,"modified":1705005662,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":86,"wordCount":7705},"headData":{"title":"Bay Area Hip-Hop in the 1980s: A Look Back | KQED","description":"Casio keyboards, homemade tapes and the boundless creativity of Bay Area youth flourished in the 1980s hip-hop scene.","ogTitle":"How Bay Area Hip-Hop Found Its Sound in the 1980s","ogDescription":"Casio keyboards, homemade tapes and the boundless creativity of Bay Area youth flourished in the 1980s hip-hop scene.","ogImgId":"arts_13927363","twTitle":"How Bay Area Hip-Hop Found Its Sound in the 1980s","twDescription":"Casio keyboards, homemade tapes and the boundless creativity of Bay Area youth flourished in the 1980s hip-hop scene.","twImgId":"arts_13927363","socialTitle":"Bay Area Hip-Hop in the 1980s: A Look Back %%page%% %%sep%% KQED","socialDescription":"Casio keyboards, homemade tapes and the boundless creativity of Bay Area youth flourished in the 1980s hip-hop scene.","authorsData":[{"type":"authors","id":"11855","meta":{"index":"authors_1591205172","id":"11855","found":true},"name":"Mosi Reeves","firstName":"Mosi","lastName":"Reeves","slug":"mreeves","email":"infamous30@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Mosi Reeves is a journalist and cultural critic based in Oakland, California. In addition to KQED, his work has appeared in \u003cem>Rolling Stone\u003c/em>, \u003cem>The Wire\u003c/em>, Pitchfork, \u003cem>Billboard\u003c/em>, and Grammy.com.","avatar":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Mosi Reeves | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mreeves"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1020x574.png","width":1020,"height":574,"mimeType":"image/png"},"twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1020x574.png","width":1020,"height":574,"mimeType":"image/png"},"twitterCard":"summary_large_image"},"tagData":{"tags":["bay area rap","featured-arts","Hip Hop","Oakland","tmw-featured","Too Short","vallejo"]}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927349/bay-area-hip-hop-1980s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13927363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the mid-1980s, after years of street dance, DJing and graffiti sharing equal space, rapping took center stage. The Bay Area’s bass-heavy sound would arrive at the end of the decade. (Clockwise from top left: Too Short, MC Hammer, Dominique DiPrima, Club Nouveau, and Motorcycle Mike.) \u003ccite>(Steve Ringman/San Francisco Chronicle via Getty Images; Al Pereira/Michael Ochs Archives/Getty Images; SFSU Television Archives; Raymond Boyd/Getty Images; Hodisk Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: 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, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s a wintry January evening when Bas-1 brings me to Del the Funky Homosapien’s house in the East Bay. For much of the afternoon, Bas — the \u003ca href=\"https://eastbayexpress.com/old-school-fool-1/\">Oakland native\u003c/a> who’s worked with Digital Underground and released \u003ca href=\"https://www.youtube.com/results?search_query=bas-1+full+album+mentally+astute\">his own solo records\u003c/a> — has schooled me on the origins of the Bay Area hip-hop sound.\u003c/p>\n\u003cp>Bas lists numerous rappers from the ’80s, and not just Todd “Too Short” Shaw, the East Oakland rapper who famously hustled homemade cassette tapes. I’ve never heard most of the names Bas mentions: MC Chocolate Milk, Windell Baby Doll, Davy Def, Buddy Bean, Reggie Reg Rock Ski.ter, M.C. Tracy, Rock Master Fresh, Nic Nack, Kimmie Fresh, and the Acorn Crew with Grandmaster Fresh (a rapper later known as “DJ Daryl” Anderson, famed for producing tracks like 415’s “\u003ca href=\"https://www.youtube.com/watch?v=yuZ6CAwZmys\">Side Show\u003c/a>” and 2Pac’s “\u003ca href=\"https://www.youtube.com/watch?v=fAJfDP3b5_U\">Keep Ya Head Up\u003c/a>”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Many of these early Bay Area rappers never put out a commercially available record. Instead, their work is mostly confined to locally distributed cassette tapes — collectors call them “gray tapes” — that are now nearly impossible to find. They publicly broadcasted these tapes throughout neighborhoods, utilizing boomboxes and car stereos as well as stereos at house parties. “None of them sound like Too Short,” says Bas. “Some of these people didn’t put out recordings, but they were known.”\u003c/p>\n\u003cp>Throughout the 1980s, Bay Area hip-hop was an artistic movement struggling for a distinct identity. The first half of the decade was defined by street dance and aerosol art as much as rap and DJing. But as local youth began to absorb the sounds emanating from national hotspots like New York, they created a distinctive style all their own — one that would make a global impact in the years to come.\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>At Del’s house, Bas queues up an extraordinary live video clip of \u003ca href=\"https://www.youtube.com/watch?v=5u3eiG9BtdE\">Mac Mill, Emperor E, and DJ Anthony “K-os” Bryant\u003c/a> performing at \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>, a now-defunct annual event held at Lake Merritt, in 1988. (Alex “Naru” Reece, who organized the showcase where Mac Mill performed, clarified in a follow-up conversation that it didn’t happen during Festival at the Lake. He also says the showcase was filmed in 1986 for a 1988 video compilation.)\u003c/p>\n\u003cp>Mac Mill and Emperor E go back and forth, trading sound effects and dense Oakland slang as K-os cuts and scratches copies of Long Island band Original Concept’s deathless bass classic, “\u003ca href=\"https://www.youtube.com/watch?v=ai4VC0NUxl4\">Knowledge Me\u003c/a>.” Bas praises Mac Mill’s unusual “Arabian” style, which the latter deployed nearly a decade later with the 1995 single “\u003ca href=\"https://www.youtube.com/watch?v=5_f0TB3Igro\">Arabian Hump\u003c/a>.”\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/5u3eiG9BtdE'\n title='//www.youtube.com/embed/5u3eiG9BtdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then, Bas-1 calls Chris “CJ Flash” Jourdan, an OG who worked with Timex Social Club, the Berkeley teen band whose 1986 electro-funk classic, “\u003ca href=\"https://www.youtube.com/watch?v=jVce2IeYcTg\">Rumors\u003c/a>,” represented the first national breakthrough for Bay Area hip-hop culture. As Bas broadcasts CJ Flash’s voice from his phone through Del’s stereo equipment, CJ Flash spends the next hour or so describing a fledging scene where poppers and boogaloo dancers, not rappers or DJs, were the prime attractions. \u003c/p>\n\u003cp>These ensembles drew from a street-dance tradition that \u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\">dates back decades\u003c/a>. Their kinetic performances ignited crowds at high schools, house parties, and public spaces like Justin Herman Plaza and Union Square in San Francisco and UC Berkeley’s Sproul Plaza. Battles even took place on the street, with crews traveling to different neighborhoods around the region to seek out rivals. “You could meet with people on their turf and get down, and hopefully not get thumped in the process,” says CJ Flash. Many Bay Area hip-hop pioneers got their start in dance crews, including Club Nouveau’s Jay King (who pop-locked with The Unknowns), DJ King Tech (who was known as Wizard, and danced with Master City Breakers), and Flash himself (who \u003ca href=\"https://www.youtube.com/watch?v=ub1TtnI4dh8\">performed with UFO\u003c/a>).\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/ub1TtnI4dh8'\n title='//www.youtube.com/embed/ub1TtnI4dh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By contrast, rapping was a relatively new and undeveloped skill, the lowest element on the hip-hop totem pole. “Anybody could rap. Anybody could say a bunch of basic rhyme words with no style and flavor,” says Bas, noting as an aside that “most folks couldn’t understand the lyrics anyway.”\u003c/p>\n\u003cp>How is a discussion about street dancers connected to an exploration of the Bay Area hip-hop sound? It’s important to understand the conditions under which the genre emerged locally.\u003c/p>\n\u003ch2>Turntables, Casios and Homemade Tapes\u003c/h2>\n\u003cp>As KQED’s Eric Arnold explains in “\u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">The Bay Area Was Hip-Hop Before There Was Hip-Hop\u003c/a>,” foundational elements such as spoken word, funk, and rhythm & blues existed locally well before New Jersey trio Sugarhill Gang arrived with “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>” in the fall of 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923978","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the same time, the Bay Area was not the Bronx, where breakbeat culture catalyzed and fermented. Bronx DJs, MCs and B-boys like Kool Herc, Grandmaster Flash, Afrika Bambaataa, Grandmaster Caz, the Rock Steady Crew and many others gained renown among mid-’70s New York youth long before “Rapper’s Delight.” By contrast, as CJ Flash explains, it took much of the 1980s for Bay Area youth to develop the cadences and rhythms we now associate with modern rap.\u003c/p>\n\u003cp>Back then, enterprising musicians couldn’t purchase studio software and distribute their own music on an internet platform like Soundcloud. Recording equipment was expensive. An unsigned artist needed the financial and business expertise to manufacture vinyl and cassettes with artwork, much less convince record stores like Leopold’s Records in Berkeley to carry them. (Recordable CD-Rs weren’t widely used until the 1990s.)\u003c/p>\n\u003cp>This helps explain why so many rappers utilized turntables and Casio keyboards, and then recorded their songs using the microphone input on relatively cheap stereo equipment. Captured on recordable cassettes like Maxell and TDK, some of these “gray tapes” simply had stickers with handwritten titles. More often, they weren’t labeled at all.\u003c/p>\n\u003cfigure id=\"attachment_13927410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13927410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.BoxofTapes.CloseUp.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A box of handmade Bay Area rap tapes, part of Naru’s home archives. \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those days, Too Short was an outlier, a Fremont High School student who canvassed East Oakland spots like Arroyo Park, \u003ca href=\"https://medium.com/@bayareahiphoparchive/in-conversation-with-56fae687e9c\">selling copies of “Game Raps”\u003c/a> at a few dollars a pop. Since Short was originally from Los Angeles, he relied on rap partner Tony “Freddy B” Adams to show him around the Town. The duo \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">made customized tapes for local drug dealers and players\u003c/a> in the city’s nightlife — now known as “special request” tapes — shouting out the customers’ names in their raps.\u003c/p>\n\u003cp>“Short was a hustler,” says CJ Flash. “He had a style of telling stories that was so outlandish and so funny that word got around.” Short and Freddy B developed the trademark “Biiiiitch!” catchphrase, and Short has often said that he and Freddy B intended to get famous together. Unfortunately, Freddy B was in prison when Short released his landmark “\u003ca href=\"https://www.youtube.com/watch?v=YwVJTvOO4yY\">Freaky Tales\u003c/a>” tape in 1987. (Adams is \u003ca href=\"https://www.dailyrepublic.com/all-dr-news/solano-news/local-features/from-too-hort-colleague-to-christian-missionary/\">now a minister\u003c/a> at Mount Calvary Baptist Church in Fairfield.)\u003c/p>\n\u003cfigure id=\"attachment_13927341\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/TooShort.SFExaminer.1984.jpg\" alt=\"\" width=\"676\" height=\"455\" class=\"size-full wp-image-13927341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TooShort.SFExaminer.1984.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TooShort.SFExaminer.1984-160x108.jpg 160w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">Too Short in 1984, at the age of 18. \u003ccite>(Katy Raddatz/San Francisco Examiner/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others like Sir Quick Draw, Mac Mill, and Chief Naked Head (later known as Premo; he passed away in January of 2023) simply gave away their tapes or let friends copy or “dub” the originals. As Richmond rapper \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike explained in a recent interview with Dregs One\u003c/a>, dubs of his tracks circulated as widely as Germany. “It was more or less trying to make a name for yourself…you had to make a tape,” adds CJ Flash.\u003c/p>\n\u003cp>Most importantly, Bay Area hip-hop in the ’80s was a primordial soup of youngsters figuring out what the local sound would be. The answers wouldn’t arrive until near the end of the decade. “The Bay Area was behind,” says CJ Flash, comparing it to more advanced regions like Los Angeles, South Florida, and New York. “We never thought about radio.”\u003c/p>\n\u003ch2>‘A Pivotal Moment’\u003c/h2>\n\u003cp>Alex “Naru Kwina” Hence remembers the first time he heard the Sugarhill Gang’s “Rapper’s Delight” as a 14-year-old preparing to attend Oakland High School. “When the song went off, everybody ran outside, like, ‘Did you hear that song?!” he laughs, calling it one of the best moments of his life. “It was a pivotal moment, bro. We literally started rapping the song and trying to remember it.” \u003c/p>\n\u003cp>Naru called himself Sir Quick Draw, an alias inspired by Hanna-Barbera cartoon \u003cem>Quick Draw McGraw\u003c/em> as well as the fact that, as a runner, “I was hella fast.” He took inspiration from Kurtis Blow, the Harlem rapper who scored major hits like 1980’s “\u003ca href=\"https://www.youtube.com/watch?v=qzl-2g5HhaI\">The Breaks\u003c/a>.” And Naru almost immediately began recording his voice on tape. His first original song was “The Caveman Rap,” which was inspired by Brooklyn rapper Jimmy Spicer’s 1980 single “\u003ca href=\"https://www.youtube.com/watch?v=nkGLco0tGqc\">Adventures of Super Rhyme\u003c/a>.” Naru can still recite those verses from memory: \u003cem>Now people come and take a trip in time with me / Back to that sweet year one million B.C.\u003c/em>\u003c/p>\n\u003cp>“I still got that old-school flavor, man,” he admits. “Hip-hop was more fun for me back then.”\u003c/p>\n\u003cfigure id=\"attachment_13927368\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naru.Boxes_.1.jpg\" alt=\"\" width=\"600\" height=\"840\" class=\"size-full wp-image-13927368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.Boxes_.1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naru.Boxes_.1-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Naru Kwina, who recorded under the names Sir Quick Draw and Em Cee Quick, poses with his home archives. \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rap in the Bay Area didn’t take off right away. “Most people would rap other people’s songs. They’d just repeat what they heard on the radio,” says Naru. Aspiring MCs honed their craft by congregating at Eastmont Mall, “trying to impress the girls, and getting our names on our derby jackets.” And when Tom Tom Club’s 1981 hit “\u003ca href=\"https://www.youtube.com/watch?v=ECiMhe4E0pI\">Genius of Love\u003c/a>” dropped? “Everybody rapped over that joint, man. Too many people.”\u003c/p>\n\u003cp>It’s worth remembering that hip-hop was a phenomenon developed essentially by Black and Brown children. Rapping, pop-locking, spray-painting aerosol art on neighborhood walls, even DJing: These were youthful forms of play and creative expression.\u003c/p>\n\u003cp>Bas, who grew up in North Oakland, remembers \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#at-fishermans-wharf-a-street-dance-destination-emerges\">popping and “roboting” at Pier 39 on Fisherman’s Wharf\u003c/a> in the late ’70s as a child. “You have people like Ben [James] from Live Incorporated doing pantomime and roboting,” he says, noting one of the better-known dance crews. Dancers competed for attention and tips that they could spend on Snickers bars and arcade games. “Battle-wise, you had to have skill and talent to a certain caliber in order to truly be out on the Wharf or on Market [and Powell] in front of the cable cars,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13927321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1298788791-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13927321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1298788791.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street dance crew called The Vita Family perform at Pier 39 in 1986. \u003ccite>(Liz Hafalia/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local newspaper stories focused on the emergence of hip-hop as a youth obsession. Enterprising teachers incorporated it into their lesson plans. On high-school campuses, fledgling DJs like Joseph Thomas “G.I. Joe” Simms Jr. at El Cerrito High School and groups like the Devastating Four proliferated. At house parties, mobile DJ crews spun the latest electro, boogie-funk, and rap hits.\u003c/p>\n\u003cp>Gatherings at schools, churches, and community centers typically reserved a few minutes for fledgling local rap and dance crews to perform. This was also the era of \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#nancy-reagan-visits-oakland-and-coins-the-phrase-just-say-no\">the Reagan Administration’s “Just Say No” campaign\u003c/a>, and kids were often asked to help spread an anti-drug message through raps. “Inspired by rapping groups such as Sugar Hill, Run DMC, Jeckyl and Hyde and Mell (sic) and the Furious Five, teen-agers create their own raps mostly for fun and to bring attention to themselves,” read a June 29, 1985, story in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925415","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the first half of the decade, street dance remained a focal point. \u003ca href=\"https://www.npr.org/2022/12/04/1140504217/double-dutch-fantastic-four-holiday-classic\">Double Dutch jump-rope competitions\u003c/a> sponsored by McDonald’s drew thousands to Lincoln Square Center in Oakland. The San Francisco Street Breakers held a fundraising benefit, “Super Break Sunday,” at San Francisco’s Palace of Fine Arts in 1985. \u003c/p>\n\u003cp>Ironically, street dance “got played out” after the success of Hollywood movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’\u003c/em>, and rap music moved to the center of hip-hop culture. Quickening the process were concerts by Black music stars like the \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-fresh-fest-comes-to-oakland\">Fresh Festival\u003c/a>, the first national hip-hop tour, with headliners Run-DMC at the Oakland Coliseum. Local radio tentatively began to experiment with rap, notably KMEL-FM and its mix DJs such as Michael Erickson and \u003ca href=\"https://www.kqed.org/arts/13828163/watch-cameron-paul-give-a-masterclass-in-early-djing\">the late Cameron Paul\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927323\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FreshFest.Flyer_-1020x1517.jpg\" alt=\"\" width=\"640\" height=\"952\" class=\"size-large wp-image-13927323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-1020x1517.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-800x1190.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-768x1142.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_-1033x1536.jpg 1033w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FreshFest.Flyer_.jpg 1345w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for the Fresh Festival, which arrived in Oakland in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1985, there was this incredible scene in the South Bay,” says Adisa “The Bishop” Banjoko. As a teen DJ in San Bruno “who looked like Urkel,” he remembers traveling far and wide to buy records, from Creative Music Emporium in San Francisco to T’s Wauzi in Oakland. Meanwhile, nightclubs like Mothers and Studio 47 brought a fusion of hip-hop, freestyle and techno. “San Jose had underage hip-hop teenage clubs, and no other city had those,” he says. (Banjoko later became a rapper, a journalist, and now promotes jiu-jitsu, meditation and chess with his company \u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">64 Blocks\u003c/a>.)\u003c/p>\n\u003cp>Back in Oakland, Naru continued making tapes. “I come from a musical family. My cousin’s the Maestro” — a.k.a. producer Keenan Foster, who has worked with Too Short, Dru Down, and Askari X — “and a lot of my family sings. I got a drum machine, a little Yamaha keyboard. I would play my bass lines. We had double-cassette decks.” He collaborated with Taj “Turntable T” Tilghman, “who was dope on the turntables.” Turntable T eventually bought a Roland TR-808 drum machine, the instrument du jour for def beat MCs. “When that 808 came, that was it. Everyone loved that deck. \u003cem>Boom!\u003c/em>”\u003c/p>\n\u003cp>“Gray tapes” that circulated weren’t the EP and album-length releases we’re familiar with today. Some tapes only had one song per side; or maybe just one song on one side, period. Artists were judged not only by their ability to rap engagingly for several minutes, but also to chop up a familiar beat like Whodini’s “\u003ca href=\"https://www.youtube.com/watch?v=o5r0i2ZAbCc\">Friends\u003c/a>,” transforming it into something fresh and original; or even make rudimentary 808 beats. For example, Too Short drew attention for “rapping the longest,” as Bas explains, leading to songs that lasted eight or nine minutes.\u003c/p>\n\u003cfigure id=\"attachment_13927334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Adisa.portrait-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" class=\"size-medium wp-image-13927334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-1020x870.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Adisa.portrait.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adisa Banjoko in the 1980s. \u003ccite>(Courtesy Adisa Banjoko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Those tapes were everywhere. Everyone was trying to see what was possible,” says Banjoko. In 1987, he began making raps under the name MC Most Ill. His first song was “Rhyme Junkie.” “The truth was, some of it was really cool but a lot of it actually also sucked, because [the art form] was brand new. … The quality control was not there.”\u003c/p>\n\u003cp>On August 18, 1984, the \u003cem>San Francisco Examiner\u003c/em> published an article called “Rapping with Too-Short,” the first story on the 18-year-old prodigy. Pacific News Service journalist Anthony Adams called Short’s songs “preacher-like yarns over pre-recorded music,” and noted that one of them was about automaker John DeLorean, whose conviction for cocaine trafficking made national news. Short claimed he and his partner Freddy B sold over 2,000 tapes. \u003c/p>\n\u003cp>The \u003cem>Chronicle-Examiner\u003c/em> also frequently interviewed \u003ca href=\"https://www.dominiquediprima.com/\">Dominique “Lady D” DiPrima\u003c/a>, a New York transplant and San Francisco State University student who rapped, sung, and organized events. DiPrima possessed a rich family pedigree — her father was the jazz writer Amiri Baraka, her mother the beat poet Diane DiPrima. In late 1984, \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">KRON-TV recruited her to host \u003cem>Home Turf\u003c/em>\u003c/a>, a Saturday-afternoon program that became appointment viewing for local teens.\u003c/p>\n\u003cp>“Everyone had a crush on Dominique,” says Naru, giggling.\u003c/p>\n\u003cfigure id=\"attachment_13927320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-800x541.png\" alt=\"\" width=\"800\" height=\"541\" class=\"size-medium wp-image-13927320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_-1536x1039.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DominiqueDiprima.HomeTurf.SFSU_.png 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique DiPrima, pictured here hosting a 1987 episode of ‘Home Turf’ on KRON-4. \u003ccite>(SFSU Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Bay Area Rap Record Opens the Floodgates\u003c/h2>\n\u003cp>One of the under-acknowledged aspects of early hip-hop is the way elder Black musicians shepherded young artists into the recording industry.\u003c/p>\n\u003cp>The late Sylvia Robinson, who was inducted into the Rock & Roll Hall of Fame in 2022, initially emerged in the mid-’50s as one-half of Mickey & Sylvia, who scored a national hit with “\u003ca href=\"https://www.youtube.com/watch?v=5SwMB9v1pQ4\">Love Is Strange\u003c/a>.” As a ’70s solo artist and producer, Robinson made slinky, Eartha Kitt-like erotic disco capers such as “\u003ca href=\"https://www.youtube.com/watch?v=NA2X1040_gY\">Pillow Talk\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EPScEJ66_m4\">Sweet Stuff\u003c/a>.” After discovering hip-hop when she heard DJ Lovebug Starski at a party, Robinson formed Sugar Hill Records, and turned three rapping teens she found in New Jersey into its first act, the Sugarhill Gang.\u003c/p>\n\u003cp>This process of soul veterans working with young people resulted in independent 12” singles that mirrored — if not yet accurately capturing — the nascent rap sound at a time when big companies virtually ignored it. With his Mercury Records contract, Kurtis Blow was the only act with a major album deal. A handful of other pioneers like DJ Hollywood scored one-off 12” deals.\u003c/p>\n\u003cp>A similar process played out in the Bay Area.\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/2R_h9BCuvBE'\n title='//www.youtube.com/embed/2R_h9BCuvBE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first Bay Area rap record is widely considered to be Phil “Motorcycle Mike” Lewis and the Rat Trap Band’s “\u003ca href=\"https://www.youtube.com/watch?v=p4Odk2Vu70s\">Super Rat\u003c/a>,” a 1981 boogie-funk single notoriously released by East Oakland heroin kingpin Milton “Mickey Mo” Moore’s Hodisk Records. The name “Hodisk” was a cheeky reference to his onetime side business as a pimp. (Moore has since reformed and is now a pastor in West Oakland.) In fact, Mickey Mo boasts in his 1996 autobiography \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9qy6RNV6f5w\">The Man: The Life Story of a Drug Kingpin\u003c/a>\u003c/em>, “Hodisk Records became the first record company on the West Coast to release a rap record.” (The first L.A. rap record, Disco Daddy and Captain Rapp’s “The Gigolo Rapp,” was also released in 1981.)\u003c/p>\n\u003cp>Mickey Mo has another claim to rap lore: In 1980, he \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-first-rap-performance-on-a-major-stage\">helped finance an Oakland Coliseum concert\u003c/a> headlined by L.A. funk band War, with the Sugarhill Gang as a supporting act. Journalist Lee Hildebrand’s pre-concert interview with the Gang in the \u003cem>Oakland Tribune\u003c/em> was the first mention of rap music in the local press. A second funk-rap novelty, Steve Walker’s “\u003ca href=\"https://www.youtube.com/watch?v=vB9jCLUWwBY\">Tally Ho!\u003c/a>,” also appeared in 1981. In 1983, San Francisco’s Debo & Brian released the electro-funk EP \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=vgv_AfTbEng\">This Is It\u003c/a>\u003c/em>. The momentum had started.\u003c/p>\n\u003cp>“I had made this vow that I would never ever do anything having to do with rap,” laughs Claytoven Richardson. During his long career, the Berkeley-born, Oakland-raised Richardson worked with Aretha Franklin, Kenny G, Whitney Houston, Elton John, and Celine Dion. But in the early ’80s, he was best known as a singer, producer, and arranger with hot dancefloor jazz-funk bands like Bill Summers & Summers’ Heat. His anti-rap stance reflected the music industry at large in the 1980s. “Nobody had the foresight to see that it would morph and change and do the things that it’s done,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13927369\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ClaytovenRichardson.jpg\" alt=\"\" width=\"625\" height=\"352\" class=\"size-full wp-image-13927369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ClaytovenRichardson.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ClaytovenRichardson-160x90.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Claytoven Richardson pictured in March 2023 in Los Angeles, California. \u003ccite>(Steven Simione/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Richardson couldn’t avoid the increasingly popular genre when he scored a production deal at Fantasy Records, the onetime Berkeley jazz label also known for innovative acts like Sylvester and Cybotron, as well as one-off singles generated by a “throw it against the wall and see if it sticks” philosophy. \u003c/p>\n\u003cp>One of the records Richardson produced in that anything-goes environment was Mighty Mouth’s satirical complaint, “\u003ca href=\"https://www.youtube.com/watch?v=VU1hAFnrtU8\">I’m All Rapped Out\u003c/a>.” (He wasn’t the only one annoyed over rap; perhaps out of wishful thinking, a 1985 \u003cem>San Francisco Chronicle\u003c/em> article referred to the “fast-fading hip-hop scene.”) A vocalist named Lawrence Pittman didn’t show up for the session, so Richardson performed the lyrics himself. However, Pittman showed up to rap on Mighty Mouth’s second single, “\u003ca href=\"https://www.youtube.com/watch?v=IqfQcLbemE4\">The Roaches\u003c/a>,” which parodied Whodini’s electro hit, “Freaks Come Out at Night.”\u003c/p>\n\u003cp>Other scattered local raps appeared between 1985 and 1986. Former boogaloo dancer Jay King, just home from a stint in the Air Force and splitting time between Sacramento and Vallejo, formed a group called Frost and released “\u003ca href=\"https://www.youtube.com/watch?v=hObIekxeoSg\">Battle Beat\u003c/a>.” His friends Denzil Foster & Thomas McElroy produced it, as well as another electro-rap track, Sorcerey’s “\u003ca href=\"https://www.youtube.com/watch?v=6ap6uw-kX8o\">Woo Baby\u003c/a>.” Pittsburg rapper James “Red Beat” Briggs issued “\u003ca href=\"https://www.youtube.com/watch?v=a7dUlMEZUSc\">Freak City\u003c/a>,” which was later remixed by N.W.A. co-founder Arabian Prince. And there was Rodney “Disco Alamo” Brown, from Richmond, whose 12” “\u003ca href=\"https://www.youtube.com/watch?v=6K-pXg1DY98\">The Task Force\u003c/a>” is \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#richmonds-task-force-memorialized-on-wax\">an early example\u003c/a> of Bay Area rap chronicling street life.\u003c/p>\n\u003cfigure id=\"attachment_13927313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1206295164-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" class=\"size-medium wp-image-13927313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1206295164.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short, pictured at his manager’s house in Oakland on September 21, 1987. \u003ccite>(Steve Ringman/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most importantly, Too Short’s rising buzz led to a deal with deep East Oakland entrepreneur Dean Hodges’ 75 Girls label. Released in 1985, the resulting \u003cem>Don’t Stop Rappin’\u003c/em> was the first official album by a local rapper. While fans of a certain age still treasure protean electro-funk tracks like “\u003ca href=\"https://www.youtube.com/watch?v=L2ywke376NQ\">Girl\u003c/a>” — which E-40 referenced on his 1998 hit, “Earl, That’s Yo Life” — the album couldn’t compare to his raunchy and wickedly hilarious “special request” tapes.\u003c/p>\n\u003cp>It was during this period that Naru finally got his chance in the studio. Since 1984, UC Berkeley station \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#college-radio-makes-its-mark\">KALX-FM\u003c/a> served as home to “Music for the People,” a Sunday-morning community affairs and music show hosted by the late Charles “Natty Prep” Douglass, as well as DJs like Billy “Jam” Kiernan (who also broadcast on San Francisco State University station KUSF-FM), David “Davey D” Cook, and funkster Rickey “The Uhuru Maggot” Vincent. When Naru won \u003ca href=\"https://wfmu.org/playlists/shows/107287\">a 1986 rap contest hosted by Billy Jam on KALX\u003c/a>, he earned a deal with Bay Wave Records, a local imprint distributed by Hollywood-based Macola Records. Richardson was hired to produce the session.\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/dLlNn1Zh1ww'\n title='//www.youtube.com/embed/dLlNn1Zh1ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Quick Draw] was a great rapper. He had a lot of great lyrics and ideas,” says Richardson. On “\u003ca href=\"https://www.youtube.com/watch?v=dLlNn1Zh1ww\">Rapaholic\u003c/a>,” Richardson and session engineer Michael Denten (who later worked with Spice 1 and E-40) accompanied Quick Draw’s dexterous and energetic raps with sharp-angled percussive edits and sound effects reminiscent of The Art of Noise and Mantronix.\u003c/p>\n\u003cp>“Respect to Claytoven,” says Naru, who not only continues to make music but also owns a company, \u003ca href=\"http://hiplearning.org/\">Hip Learning\u003c/a>, that promotes childhood education with rap. He wasn’t entirely satisfied with the “Rapaholic” experience: “They made the record sound hella more polished. It was [supposed to be] a little more underground than that.” However, he adds, “[Claytoven] taught us a lot in the studio about the mics they use and how to mix. It was a good experience.”\u003c/p>\n\u003cfigure id=\"attachment_13927411\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi.jpg\" alt=\"\" width=\"600\" height=\"889\" class=\"size-full wp-image-13927411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SirQuickdrawFlyer.72dpi-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied flyer advertising Sir Quick Draw’s single ‘Rapaholic.’ \u003ccite>(Mosi Reeves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Radio Breakthrough — And a Kid Named Hammer\u003c/h2>\n\u003cp>As the trajectory of Bay Area hip-hop waxed and waned, three catalyzing moments brought the scene into focus.\u003c/p>\n\u003cp>The first was an R&B track. Timex Social Club’s “Rumors” captured the pulse of Bay Area youth culture, from Marcus Thompson and Alex Hill’s skittering electro-funk bass and drums to singer Michael Marshall’s distinctly regional accent and coy recitation of schoolyard gossip (“Did you hear the one about Michael? Some say he must be gay…”) Produced by Jay King and Denzil Foster and released on King’s Jay Records in February 1986, it mushroomed into a top ten \u003cem>Billboard\u003c/em> pop hit and dominated radio all year.\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/jVce2IeYcTg'\n title='//www.youtube.com/embed/jVce2IeYcTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But by the summer, Timex Social Club was falling apart and trading accusations with King over money and credit. The group’s only album \u003cem>Vicious Rumors\u003c/em> — by that point it was just Michael Marshall — featured drum programming from CJ Flash and a shout-out to KALX’s Natty Prep, who helped break “Rumors” on his “Music and Life” show. Marshall retreated from the spotlight before \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">re-emerging as the hook man\u003c/a> on the Luniz’ 1995 smash “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\">I Got 5 on It\u003c/a>.”\u003c/p>\n\u003cp>After breaking with Timex Social Club, King formed a group called Jet Set and signed a deal with Warner Bros. Records. The group changed their name to Club Nouveau before debuting with the single “\u003ca href=\"https://www.youtube.com/watch?v=lKWhkjXV5uM\">Jealousy\u003c/a>.” A follow-up, the Bill Withers cover “\u003ca href=\"https://www.youtube.com/watch?v=kbyjaUJWWmk\">Lean on Me\u003c/a>,” went to number-one on the \u003cem>Billboard\u003c/em> Hot 100, while Club Nouveau’s debut album \u003cem>Life, Love & Pain\u003c/em> went platinum.\u003c/p>\n\u003cfigure id=\"attachment_13927310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1346275851-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" class=\"size-medium wp-image-13927310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1346275851.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singers Samuelle Prater, Jay King and Valerie Watson of Club Nouveau performs at the U.I.C. Pavilion in Chicago, Illinois in August 1987. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King’s growing stardom rippled across the Bay and reached Felton Pilate, the Vallejo keyboardist, singer, and producer best known as a driving force in Bay Area funk stars Con Funk Shun. The two had already worked together on King’s onetime rap group Frost; Pilate engineered that record. Pilate soon added one of King’s projects, Sacramento R&B/rap group New Choice, to a growing slate of projects he produced and engineered at his Felstar Studios.\u003c/p>\n\u003cp>Felstar Studios was the culmination of work he had begun while not touring and rehearsing with Con Funk Shun. At his home studio on Sandpiper Drive in Vallejo, Pilate helped assemble records for fledgling local artists. “I never thought of myself as just a studio,” he says, where he simply records his clients. “I have a little experience here. I’ve got several gold albums. Here, let me pass on some of this knowledge.” When asked if he considered himself a mentor, he demurs, even though that’s arguably what he was. \u003c/p>\n\u003cp>When Pilate opened Felstar Studios on Sonoma Boulevard, his trusted associate was James Earley, a young engineer whom he credits for adding a more contemporary sensibility to the Studios’ output. Among the locals who came to them were M.V.P., a family trio consisting of Earl Stevens, Danell Stevens, and Brandt Jones. Their 1988 12”, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=sfLuAL6DueI\">The Kings Men\u003c/a>\u003c/em>, also included Tanina Stevens and Angela Pressley, who called themselves Sugar ‘N’ Spice. The members of M.V.P. updated their stage names to E-40, D-Shot and B-Legit, added Tanina as Suga T, and \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-clicks-down-dirty-ushers-in-mobb-music-era\">evolved into The Click\u003c/a>, arguably becoming the most famous rap group to emerge from Vallejo.\u003c/p>\n\u003cfigure id=\"attachment_13927370\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/MVP.e-40.jpg\" alt=\"\" width=\"700\" height=\"700\" class=\"size-full wp-image-13927370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/MVP.e-40.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/MVP.e-40-160x160.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">M.V.P., a 1988 Vallejo rap group featuring Busy D, E-40 and Legit (L–R). The three would later add E-40’s sister Suga T and become known as The Click. \u003ccite>(Gerry Ericksen / Rushforce Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1986, Pilate and Earley both had solo deals at Berkeley’s Fantasy Records. It was there that Pilate met a former Oakland A’s batboy named Stanley “Holyghost Boy” Burrell through Fantasy Records producer Fred L. Pittman. “Fred would often hire me to do keyboard arrangements for him,” says Pilate. When Pittman asked him to play keys for Holyghost Boy, Pilate responded, “Hey Fred, why don’t you let me take the reins on this?”\u003c/p>\n\u003cp>As a classically trained jazz and classical musician, Pilate didn’t think much of rap, even though Con Funk Shun not only included a rap verse on a 1982 single, “\u003ca href=\"https://www.youtube.com/watch?v=GQ9GHVTI-EE\">Ain’t Nobody Baby\u003c/a>”; but also made “\u003ca href=\"https://www.youtube.com/watch?v=kmmzvN7raB0\">Electric Lady\u003c/a>,” a 1985 hit produced by Larry Smith of Whodini fame that landed in the top five of \u003cem>Billboard\u003c/em>’s Black Singles chart. “Musically, I wasn’t a fan, but as a producer, I said, ‘I can do this,’” he says. “Like everyone else, Con Funk Shun wanted to be relevant, and rap was all over the radio.”\u003c/p>\n\u003cp>The tracks Burrell brought to Pilate consisted of him rapping over sparse Yamaha RX5 drum-machine parts. Pilate responded by going into “study mode.” He listened to the rap stuff that was getting airplay like Doug E. Fresh & the Get Fresh Crew. As a result, the skittering percussion on Burrell’s “\u003ca href=\"https://www.youtube.com/watch?v=akVWFiptGNY\">Let’s Get It Started\u003c/a>” is reminiscent of the go-go-inspired arrangements on Doug E. Fresh hits like “\u003ca href=\"https://www.youtube.com/watch?v=6sGw9GSCiYU\">The Show\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-UtqnKIF7kE\">All the Way to Heaven\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13927325\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" class=\"size-medium wp-image-13927325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer films the music video for ‘Let’s Get It Started’ at Sweet Jimmie’s nightclub in downtown Oakland, March 19, 1988. \u003ccite>(Deanne Fitzmaurice/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My thing was to make it more music-driven than beat-driven,” says Pilate. In many cases, he simply “listened to what [Burrell] was talking about and wrote a straight R&B song underneath it.” He also gives credit to Earley, who helped refine the drum programming and brought “that younger ear” to the project. They incorporated stock horn stabs from a battery of Juno, Roland, and Yamaha drum machines. Meanwhile, Kent “The Lone Mixer” Wilson and Bryant “D.J. Redeemed” Marable added rhythmic scratches by cutting up Curtis Mayfield and Beastie Boys records.\u003c/p>\n\u003cp>After the demos were finished, Fantasy Records dropped Pilate, Earley and Burrell from their deals. “They weren’t really sure how to market any of us,” says Pilate. Then, he chuckles, “The next time I ran into the Holyghost Boy, he had changed his name to MC Hammer.” After forming Bustin’ Records in Fremont with financial help from Oakland A’s ballplayers like Mike Davis and Dwayne Murphy, Hammer turned the Pilate demos into three 12”s — “Ring ’Em,” “The Thrill Is Gone” and “Let’s Get It Started” — and the 1987 album \u003cem>Feel My Power\u003c/em>. “I was like, man, those were rough mixes! You were supposed to come back and let me fix that!” Pilate laughs.\u003c/p>\n\u003cp>Everyone involved in Bay Area hip-hop has vivid memories of MC Hammer blowing up. Near-mythical stories of his local takeover abound, like attending local concerts surrounded by a massive crew; or tearing up the dance floor at The Silks, a popular nightclub in Emeryville.\u003c/p>\n\u003cfigure id=\"attachment_13927324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Hammer.Pilate-800x727.jpg\" alt=\"\" width=\"800\" height=\"727\" class=\"size-medium wp-image-13927324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-1020x926.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.Pilate.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer and Fenton Pilate in modern times. Pilate engineered and co-produced MC Hammer’s first recordings. \u003ccite>(Courtesy Felton Pilate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s worth revisiting \u003cem>Feel My Power\u003c/em> and 1988’s \u003cem>Let’s Get It Started\u003c/em>. Released after Hammer signed with Capitol Records, \u003cem>Let’s Get It Started\u003c/em> found Hammer and Pilate remixing those original demos while adding vital new tracks like “\u003ca href=\"https://www.youtube.com/watch?v=9sZVcXzSE3M\">Pump It Up\u003c/a>.” The results are bombastic and vibrant dance-floor jams as ecstatic as anything by Kid ‘n’ Play and Salt-n-Pepa. Hammer’s subsequent leap into pop superstardom with 1990’s \u003cem>Please Hammer Don’t Hurt ‘Em\u003c/em> and the ubiquity of “U Can’t Touch This” obscure just how great those early tracks are.\u003c/p>\n\u003ch2>Eight Woofers in the Trunk\u003c/h2>\n\u003cp>MC Hammer’s major-label arrival in 1988 capped a year of Bay Area hip-hop on the cusp of national exposure. \u003c/p>\n\u003cp>After Too Short issued \u003cem>Born to Mack\u003c/em> in the fall of 1987 on his Dangerous Music label, Jive Records picked it up. (Dangerous Music also issued \u003cem>Dangerous Crew\u003c/em>, a compilation of vital Bay Area acts like Spice-1, Rappin’ 4-Tay, and the female duo Danger Zone.) Digital Underground’s playful and psychedelic “\u003ca href=\"https://www.youtube.com/watch?v=5zQ1frcgSbI\">Underwater Rimes\u003c/a> / \u003ca href=\"https://www.youtube.com/watch?v=VpBNB20wVo0\">Your Life’s a Cartoon\u003c/a>” led to a deal with Tommy Boy. Local talent waited in the wings, including rapper/producer Paris (A.T.C.’s “\u003ca href=\"https://www.youtube.com/watch?v=yHpiPWfOBk4\">Cisco Jam\u003c/a>”), Sway & King Tech (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=FBJujmVXiwE\">Flynamic Force\u003c/a>\u003c/em> EP), Dangerous Dame (“\u003ca href=\"https://www.youtube.com/watch?v=t9Frj4j09GE\">The Power That’s Packed\u003c/a>”), and MC Twist and the Def Squad (“\u003ca href=\"https://www.youtube.com/watch?v=4lZz7qhjfjw\">Just Rock\u003c/a>”). And the late Cameron Paul, known for his “Beats & Pieces” breakbeats, remixed Queens trio Salt-n-Pepa’s 1987 track “\u003ca href=\"https://www.youtube.com/watch?v=SPkdk1oMmtE\">Push It\u003c/a>” into a global phenomenon.\u003c/p>\n\u003cfigure id=\"attachment_13828164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/CameronPaul-800x496.jpg\" alt=\"Cameron Paul reveals his mixing secrets.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13828164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CameronPaul-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Paul, who provided the spine of New Orleans bounce music with ‘Brown Beats’ and recorded a smash-hit remix of Salt ‘n’ Pepa’s ‘Push It,’ was also a prominent club and radio megamix DJ in San Francisco. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Incidentally, the first local group to score a major label deal wasn’t Hammer, but Surf MCs, a Berkeley group that Profile Records promoted as a Beastie Boys-like rap/rock crossover. Their 1987 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ojCAqdBA7uA\">Surf or Die\u003c/a>\u003c/em> proved a flop.\u003c/p>\n\u003cp>Yet the third moment that catalyzed Bay Area hip-hop wasn’t a singular record like Timex Social Club’s “Rumors,” or an artist like Hammer and Short. It was the sound of walloping, all-enveloping bass.\u003c/p>\n\u003cp>Made for surgically enhanced car and jeep stereos, the bass colossus is as much a feature of hip-hop in the mid-’80s as the pounding Roland TR-808 machine, from Rick Rubin’s production on LL Cool J’s “Rock the Bells” and T La Rock’s “It’s Yours” to Rodney O and DJ Joe Cooley’s “Everlasting Bass” and Dr. Dre’s work on Eazy-E’s “The Boyz-N-The Hood.” It also mirrors the crack-cocaine epidemic that began to blight and distort communities across the country. As street life turned treacherous, the specter of the hustler, and whether to become one, cast a growing shadow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925761","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Then the new style came, the bass got deeper / You gave up the mike and bought you a beeper / Do you want to rap or sell coke? / Brothers like you ain’t never broke,” Too Short memorably rapped on his 1989 hit, “\u003ca href=\"https://www.youtube.com/watch?v=CvfUUOO0xoM\">Life Is…Too Short\u003c/a>.”\u003c/p>\n\u003cp>Banjoko recalls how the presence of gangs transformed local shows. “You would see a bunch of people dressed up together [in the same gear], and you might assume they were a rap or dance crew. They were young drug lords,” he says. “You could get trampled, beat up or robbed by any of them. I remember 69 Ville being massively deep at the Fresh Fest and the [Run-DMC] Raising Hell tour. They were terrifying, straight up. You were going to tuck your chain, you were going to take your Kangol off, or they were going to take it.”\u003c/p>\n\u003cfigure id=\"attachment_13927326\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/HughEMC.jpg\" alt=\"\" width=\"600\" height=\"409\" class=\"size-full wp-image-13927326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/HughEMC.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/HughEMC-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh EMC, the San Francisco rapper whose 1988 single ‘It’s the Game’ unflinchingly chronicled street life. \u003ccite>(Soul Sonic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rap imagery became more honest and explicit. Some like Richmond rapper Magic Mike, San Francisco’s Hugh EMC (“\u003ca href=\"https://www.youtube.com/watch?v=b_p7L0eJfKI\">It’s the Game\u003c/a>”), and Oakland’s Hollywood (“\u003ca href=\"https://www.discogs.com/release/641778-Hollywood-Stay-Heart-And-Soul-Raps-Just-A-Battlefield\">Gangster Rap\u003c/a>”) seemed to embrace the hustler ethos, while cautiously adding verses about the consequences of that lifestyle. Then there was Oakland rapper Morocco Moe, whose “\u003ca href=\"https://www.youtube.com/watch?v=ogNoOCIVPrI\">Task\u003c/a>” criticized how law enforcement brutalized communities in the War on Drugs: “Their intentions are good/But their actions are wrong.”\u003c/p>\n\u003cp>“Every Black neighborhood was infested” with crack, says Vallejo producer Khayree Shaheed. “There was an influx of money coming into young Black men, but there was also a lot of death occurring.” The epidemic also marked his entry into the world of rap.\u003c/p>\n\u003cp>As a descendant of the Bay Area’s vaunted funk tradition, Khayree spent the ’70s and early ’80s playing bass guitar for bands like Grand Larceny, Body Mind & Spirit and Touch of Class (with keyboardist Rosie Gaines, who later joined Prince & the New Power Generation). His travels took him across the U.S. and even to Japan, where Touch of Class lived and performed for several months. (Though his bands made demos, there are no official recordings to date.) When asked about the first time he heard rap, Khayree cites “jazzoetry” ensembles like The Last Poets, not the Sugarhill Gang. And as a youth growing up on Lofas Place in Vallejo, he spent plenty of time following Con Funk Shun, hoping to apprentice with the biggest band in the city.\u003c/p>\n\u003cfigure id=\"attachment_13927412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-800x510.jpg\" alt=\"\" width=\"800\" height=\"510\" class=\"size-medium wp-image-13927412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi-1536x980.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.1979.DockoftheBay.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo musician Khayree Shaheed, playing bass onstage in 1979. \u003ccite>(Courtesy Khayree Shaheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Khayree was in his mid-20s when Rod “I.C.E.” Andrews and Dan “Luvva D” Morrison a.k.a. the Luvva Twins brought Khayree a demo they had made on a Casio keyboard, “Hubba Head.” The song title was slang for a crack addict, and the duo described the “hubba head’s” descent into addiction with charismatic punch. They arranged the music and rapped most of the lyrics, while Khayree dropped a short verse and added guitar.\u003c/p>\n\u003cp>Khayree had already spent time at Pilate’s home studio, honing his writing and production skills. (“I always enjoyed working with him,” says Pilate.) Now, he brought “Hubba Head” to Pilate, and the two prepared it for release. Setting up his own label, Big Bank Records, Khayree distributed two hundred copies of the 12” to DJs and influencers. “The record was super popular in the streets,” says Khayree.\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/pArkWvlAebg'\n title='//www.youtube.com/embed/pArkWvlAebg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After “Hubba Head,” Khayree began working with Jay King, a fellow graduate of Vallejo High School. The opportunity to write and produce New Choice’s 1987 single “\u003ca href=\"http://<a%20href=\" https:>Cold Stupid\u003c/a>” and most of the quintet’s 1988 debut, \u003cem>At Last\u003c/em>, gave him important experience on a major project and financial stability. By fusing bass, funky R&B and hip-hop breakbeats, New Choice reflected a parallel R&B movement that both influenced and was inspired by the hip-hop scene. Similar Bay Area acts included Oakland’s Tony! Toni! Toné!, who parlayed backing sessions for Sheila E. and Tramaine Hawkins into a major-label deal.\u003c/p>\n\u003cp>Flush from his experience with New Choice, Khayree was ready to start his own company. “I’m listening to EPMD’s \u003cem>Strictly Business\u003c/em>,” he says, inspiring the name of his second label, Strictly Business Records. He knew that Mike “The Mac” Robinson, who also grew up on Lofas Place, was a rapper. Robinson hailed from a musical family: his uncle Steve “Silver” Scales was a well-traveled Vallejo funk percussionist who played with Talking Heads, Tom Tom Club, and the B-52s. (Though it would be a delicious coincidence, Scales didn’t perform on “Genius of Love.”) Khayree encouraged Robinson to take music more seriously. Meanwhile, Robinson’s mother drew the memorable Strictly Business logo: an open briefcase, ready for business.\u003c/p>\n\u003cp>In 1988, Khayree released The Mac’s three-song EP, “\u003ca href=\"https://www.discogs.com/release/805531-The-Mac-Im-Ah-Big-Mac\">I’m Ah Big Mac\u003c/a>.” Heard now, what immediately stands out is the unique \u003cem>tone\u003c/em> of the bass. “We used synthesizers that had dumb-fat bass lines,” explains Khayree in reference to himself and Too Short as well as future Bay Area colleagues like Ant Banks. By comparison, he says, other regional scenes relied on a “natural” bass guitar or samples from records. “You feel it through your whole body. … You can get it with a bass guitar, depending on how you EQ the bass and what you run your guitar through. But you’re \u003cem>never\u003c/em> going to touch the subs and the depth of a Minimoog, of the Oberheim Ovx, or the Roland Juno 106.” The EP’s highlight is its B-side “The Game Is Thick,” which centers on a sample of Prince’s “D.M.S.R.” \u003c/p>\n\u003cfigure id=\"attachment_13927371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/TheMac.GameisThick-800x498.jpg\" alt=\"\" width=\"800\" height=\"498\" class=\"size-medium wp-image-13927371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/TheMac.GameisThick.jpg 1537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khayree and The Mac (L–R), pictured on the cover of The Mac’s ‘The Game is Thick.’ \u003ccite>(Phil Bray / Strictly Business Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1989, Khayree remixed and re-released “\u003ca href=\"https://www.youtube.com/watch?v=tCxGl7Ok1YI\">The Game Is Thick\u003c/a>” as a standalone 12” with a memorable cover photo: Khayree looking super-clean in a grey suit, clasping a briefcase, with The Mac in a red-and-black bomber jacket. Khayree calls the style “pimping.” “We didn’t mean pimping so much as getting prostitutes to work,” he explains. “It’s an attitude, and it’s a musical style.” The “game” is a metaphor for life in the Black community. Street slang illustrated complex situations, whether it was dealing with the repercussions of a raging crack epidemic, or simply navigating the tensions of everyday living. Meanwhile, The Mac’s “cool, silky, pimpish” flow and Khayree’s synthesized bass production proved a clear predecessor to the ’90s mob-music sound that took over Bay Area rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924167","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Upon release, “The Game Is Thick” didn’t make a major impact, and most copies went to local DJ pools. “We promoted records out of the trunk,” says Khayree. “We went from Bobby G’s Soul Disco in San Francisco to [Rico Casanova’s record pool] The Pros in Oakland.” Still, “The Game Is Thick” remix received a mention in Davey “D” Cook’s April 7, 1989 “Beats & Breaks” column for \u003cem>BAM\u003c/em> Magazine. “Let me tell you, it’s hyped to the max,” Davey D wrote.\u003c/p>\n\u003cp>With Khayree’s encouragement, the Mac taught himself how to produce music with synth keyboards. He also introduced Khayree to another Vallejo artist, Andre “Mac Dre” Hicks, who became Strictly Business’ second act. By the time The Mac was shot and killed on July 23, 1991 in what Khayree calls “a case of mistaken identity,” the two had recorded dozens of tracks and released a third and final 12” protesting police violence, 1990’s “Enuff of Tis Sh-t!” One of The Mac’s beats posthumously appeared on Mac Dre’s 1993 track, “\u003ca href=\"https://www.youtube.com/watch?v=slA_s7tSjMU\">The M.A.C. & Mac D.R.E.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13927413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" class=\"size-medium wp-image-13927413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Khayree.KoolMoeDee.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khayree with Kool Moe Dee at the 1988 BRE Conference in Los Angeles. \u003ccite>(Courtesy Khayree Shaheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mike had a big, big loving heart,” remembers Khayree, sounding wistful. He emphasizes how The Mac left behind a daughter, “Mac” Reina Robinson, and a pregnant girlfriend who gave birth to his son, Mike. At one point, Khayree plays a voicemail of The Mac passionately singing a funky, swinging hook, as if to counteract the stereotype that rappers aren’t musicians. He talks about how The Mac’s way of playing simple, evocative keyboard notes for maximum effect echoes in the work of his famed protégé, Mac Dre. “I miss him,” he says.\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>Bay Area rap broke wide at the end of the decade, leading to a 1989 story in the \u003cem>New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/1989/09/10/arts/rap-by-the-bay-oakland-emerges-as-a-force-in-pop.html\">Rap by the Bay: Oakland Emerges as a Force in Pop\u003c/a>.” Not every local pioneer who laid the groundwork would enjoy the fruits of that success. But their stories are essential to understanding how local hip-hop came of age, and everything that came after.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927349/bay-area-hip-hop-1980s","authors":["11855"],"categories":["arts_1","arts_835","arts_966","arts_7862","arts_69","arts_75","arts_990","arts_70"],"tags":["arts_5397","arts_10278","arts_831","arts_1143","arts_19346","arts_3478","arts_3800"],"featImg":"arts_13927364","label":"source_arts_13927349","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? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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