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"content": "\u003cp>At nine o’clock on a recent Saturday night, the \u003ca href=\"https://www.kqed.org/arts/tag/daly-city\">Daly City\u003c/a> parking lot is packed, and a line crawls down half a block while pop music blares through the front doors. I grip my daughter’s hand and lead her through the sea of people, praying we don’t get separated in the chaos. Then, “Love Me” by Fia drops, and the whole crowd sways in unison, a group of girls in front serenading each other with the chorus.\u003c/p>\n\u003cp>It’s a typical night at the club, except we aren’t at a nightclub tonight. Instead, we’re at the brand new Seafood City supermarket at St. Francis Square, and the packed area I’m making a beeline for is the snack aisle, not the women’s bathroom on Ladies’ Night. Off to the side, the hungry crowd lines up patiently for pancit, kwek kwek (batter-fried quail eggs) and BBQ on a stick. Meanwhile, a lone shopper pulls up to the one checkout aisle that’s open with a full basket of groceries. I glance at him in equal parts pity and amusement, wondering if it’s the worst day for him to go grocery shopping or the best. But the truth is, no one seems bothered that the supermarket has erupted into an all-out dance party. Everyone is having the time of their lives.\u003c/p>\n\u003cp>These days, it seems that clubs are \u003ci>out\u003c/i>, and Filipino grocery stores are \u003ci>in\u003c/i>. All you need are comfortable shoes, an appetite for street food and a brave friend to join you in the line dance when a Tita beckons.\u003c/p>\n\u003cfigure id=\"attachment_13983051\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg\" alt=\"A Black party attendee dances in the middle of a circle that's formed in the middle of a supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Harrell (center) dances in the circle that’s formed inside the store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the entire month of October, which happens to be Filipino American History Month, videos of this “Late Night Market Madness” party series have been popping up all over social media, showing a similar scene at Seafood City locations around the country: Bay Area luminaries \u003ca href=\"https://www.kqed.org/arts/13938479/p-lo-filipino-food-bay-area-hella-hungry\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/noodz/reels/?hl=en\">DJ Noodles\u003c/a> flexed their Filipino star power at Eagle Rock Plaza in L.A., and DJs in Seattle hyped up the crowd with a Backstreet Boys singalong.\u003c/p>\n\u003cp>But the whole thing started in Daly City. The supermarket dance parties were the brainchild of Vallejo-raised JP Breganza, who DJed his first Seafood City gig in September to kick off the store’s new night market series. Videos of those first parties — shot by the Filipino American nonprofit \u003ca href=\"https://www.instagram.com/sf_kollective/?hl=en\">SF Kollective\u003c/a>, which co-organized several of the events — immediately went viral. \u003ca href=\"https://www.instagram.com/p/DOQs-t2kRWS/?hl=en\">In the videos\u003c/a>, the store isn’t as crowded as it would get for the later editions. But you can see random shoppers, and even Seafood City employees, getting down to Breganza’s perfectly curated set of danceable \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm\">Original Pilipino Music\u003c/a> (OPM), \u003ca href=\"https://en.wikipedia.org/wiki/Budots\">budots\u003c/a> tracks from Bandcamp, and other songs that he scoured obscure Facebook DJ groups to find — all with the goal of hyping up an intergenerational crowd. He always ended by playing his favorite Filipino alt-rock band, Mayonnaise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That whole set was to celebrate Filipino-dom in its entirety,” Breganza says about his selection of artists not usually heard outside of the Philippines.\u003c/p>\n\u003cp>The unique grocery store partnership might have never happened if Breganza hadn’t started thinking outside the box, going out of his way to play DJ sets in the most random places: an all-night \u003ca href=\"https://www.instagram.com/p/DMxwnKvxd8C/?hl=en\">Street Fighter 2 gaming session\u003c/a>, on a \u003ca href=\"https://www.instagram.com/p/DMUjanNOjG-/?hl=en\">cliffside\u003c/a>, and even at a \u003ca href=\"https://www.instagram.com/p/DOF9Hu1Dv3-/?hl=en\">driving range\u003c/a>. “I don’t like the club,” he says. “I don’t like what it offers, the environment that it brings and what it enables.\u003c/p>\n\u003cfigure id=\"attachment_13983057\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg\" alt=\"A DJ poses for a portrait at his turntable, which is set up inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">JP Breganza, the Filipino American DJ who spearheaded Seafood City’s popular dance party series, poses for a portrait at the supermarket’s Daly City location. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He began recording his more low-key live sets and posting them online. “Honestly speaking, I was being petty to the DJ community, saying [the scene] is oversaturated and that there’s nowhere to play. And I’m the type of person to go, ‘Well, have you played under a tree or on top of a rock?’”\u003c/p>\n\u003cp>In July, someone commented on one of those videos, “You should do this at Seafood City.” Breganza thought it was a dumb idea — but also exactly the kind of thing he was willing to try. Of course, every Filipino kid growing up in the States has memories of buying groceries at Seafood City, which has been a staple in Filipino American enclaves, especially in California, since the late ’80s. It was usually out of necessity, though, and not recreational. Still, Breganza reposted the comment, tagging Jollibee, Island Pacific Supermarket and Seafood City. Seafood City bit first, and the rest was history: Five hours later, they’d booked him for the series of night market events they were about to promote.\u003c/p>\n\u003cfigure id=\"attachment_13983055\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg\" alt=\"A crowd lined up outside a Seafood City supermarket at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of attendees lining up outside the Daly City grocery store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at its core, the Seafood City dance party craze that Breganza started isn’t \u003ci>just \u003c/i>about DJing in an unusual location. Growing up in the Bay Area’s Filipino American community, he says Daly City always had a special place in his heart. It’s the place he associates with the huge Filipino family parties where he watched his aunties and cousins and grandparents interact. “Whenever I went to Daly City, I always knew it was gonna be a big party. I had no idea who was going to be there,” he remembers. “I’m going to see all the aunties and uncles that I still don’t know their names because there’s so many of them. That’s also where I meet all the kids. I was absorbing it all.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13977860,arts_13959765,arts_13938479']\u003c/span>As the youngest among his family friends, Breganza was used to peeking in during these house parties and seeing people learn how to play a video game or set up turntables for a dance in the garage. That was exactly the type of intergenerational atmosphere he wanted to recreate at Seafood City. After all those treks between Vallejo and Daly City when he was growing up, it made sense for his set to pay homage to what he calls a “\u003ca href=\"https://www.instagram.com/jpbreganza/reel/DPr-nh2EjAG/?hl=en\">home that once was\u003c/a>.”\u003c/p>\n\u003cp>It wasn’t until the day of the first gig that Breganza learned that Seafood City would be shutting down two checkstands, and that he would actually be spinning inside of the store during store hours. That setup changed everything. “I brought the loudest speakers, just to make sure I filled up the whole store,” he says, explaining how he brought his own equipment for the two-hour drive from Rancho Cordova, where he now lives. “The most important part for me was also for the employees to experience it, because they’re not built for the nightlife and they need the music. I’m giving them a piece of home.”\u003c/p>\n\u003cfigure id=\"attachment_13983052\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg\" alt=\"A cashier rings up a customer inside a busy supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jasmin San Jose, a cashier, rings up a customer in the middle of one of Seafood City’s late-night DJ parties. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For other Filipino Americans who came out to the Seafood City parties after they’d turned into a full-blown phenomenon, the supermarket blowouts felt like more than just another store promotion. On the night I visited, DJ Illyst from San José was one of the DJs on deck, and she had, of course, never spun at a grocery store during the year and a half that she’d been DJing professionally. “It feels like a family party. Doing all the line dances, the singalongs — there’s way more energy than going to the club,” she says.\u003c/p>\n\u003cp>Meanwhile, Steph Balon, executive director of the nonprofit \u003ca href=\"https://kapwakulturalcenter.org/\">Kapwa Kultural Center & Café\u003c/a>, was there in the crowd with her nine-year-old son, Koa, for the second night in a row. The previous night, when DJ Cutso was on the turntables, Koa had felt the spirit of the song so intensely that “before I knew it, he was gone,” Balon recalls. Eventually, she found him on top of the checkstand, dancing his heart out for the cheering crowd. It made Balon think about her own childhood growing up between San Ramon and the Peninsula. She remembers how at family parties, everyone would dance in a circle, egged on by their aunts and uncles. Now, her son was getting to partake in the same coming-of-age ritual. Only it was on a larger scale — and at the grocery store of all places.\u003c/p>\n\u003cfigure id=\"attachment_13983047\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg\" alt=\"Four young children eating a spread of Filipino street food in a supermarket food court.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Four young children take a break from the dance party to enjoy a spread of Filipino street food in the Seafood City food court. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that the events’ popularity has spread all the way to L.A., Las Vegas and Houston, with flashier, more famous DJs, I ask Breganza whether he minds that Seafood City has taken his “dumb idea” and run with it. But Breganza says, “It was never about [claiming] it’s my terrain.” He’s just happy that the idea to spin a set in every Filipino enclave has taken off — with or without him.\u003c/p>\n\u003cp>“I want to work on a project where I can curate regional sound amongst the Filipino community,” he says of his ultimate goal. “What if the Houston DJs were playing chopped-and-screwed versions of OPM, or Chicago was playing house versions?”\u003c/p>\n\u003cp>For now, he’s focusing on the Bay Area, and instilling a sense of Filipino pride along with that early ’90s family party nostalgia. Starting with these Daly City supermarket gigs, he’s already done just that, turning a “dumb idea” into a brilliant marketing partnership — and also something much deeper. Whether it’s creating that perfect love ballad mashup for his set or grabbing the mic to entertain shoppers and workers alike, Breganza doesn’t want the important stuff to get lost in the virality of the moment, or competition between different Seafood City locations.\u003c/p>\n\u003cfigure id=\"attachment_13983050\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg\" alt=\"A crowd of Filipino Americans dancing and singing inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Borland (front) dances during DJ Boogie Brown’s set. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As SF Kollective co-founder Dean Urriza \u003ca href=\"https://www.instagram.com/reel/DQUGtLPEa5Y/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">recently pointed out\u003c/a> on Instagram: “This is and always will be about community, and showing up for each other, not showing out.”\u003c/p>\n\u003cp>What Breganza hopes to provide, then, is that missing piece — that feeling of being among family, even with people you’ve never met. On the night I came out to Seafood City, I’d brought four cousins with me. We all grew up in Daly City when our Lola and Lolo immigrated from the Philippines in the mid-’80s. For us, the party was a chance to relive childhood memories one Filipino love ballad at a time — in true Filipino tradition, with plenty of delicious food to share with our neighbors and friends.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The final Late Night Madness dance parties for Filipino American History Month will be on Oct. 31 and Nov. 1 from 8 p.m.–midnight at the Daly City Seafood City (1420 Southgate Ave.). Since the event coincides with Halloween, guests who come in their best Filipino costumes will get a free BBQ meal. \u003c/i>\u003ca href=\"https://www.instagram.com/sosyalstages/?hl=en\">\u003ci>Sosyal Stages\u003c/i>\u003c/a>\u003ci> will be spinning EDM. The event is all ages, and entry is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At nine o’clock on a recent Saturday night, the \u003ca href=\"https://www.kqed.org/arts/tag/daly-city\">Daly City\u003c/a> parking lot is packed, and a line crawls down half a block while pop music blares through the front doors. I grip my daughter’s hand and lead her through the sea of people, praying we don’t get separated in the chaos. Then, “Love Me” by Fia drops, and the whole crowd sways in unison, a group of girls in front serenading each other with the chorus.\u003c/p>\n\u003cp>It’s a typical night at the club, except we aren’t at a nightclub tonight. Instead, we’re at the brand new Seafood City supermarket at St. Francis Square, and the packed area I’m making a beeline for is the snack aisle, not the women’s bathroom on Ladies’ Night. Off to the side, the hungry crowd lines up patiently for pancit, kwek kwek (batter-fried quail eggs) and BBQ on a stick. Meanwhile, a lone shopper pulls up to the one checkout aisle that’s open with a full basket of groceries. I glance at him in equal parts pity and amusement, wondering if it’s the worst day for him to go grocery shopping or the best. But the truth is, no one seems bothered that the supermarket has erupted into an all-out dance party. Everyone is having the time of their lives.\u003c/p>\n\u003cp>These days, it seems that clubs are \u003ci>out\u003c/i>, and Filipino grocery stores are \u003ci>in\u003c/i>. All you need are comfortable shoes, an appetite for street food and a brave friend to join you in the line dance when a Tita beckons.\u003c/p>\n\u003cfigure id=\"attachment_13983051\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg\" alt=\"A Black party attendee dances in the middle of a circle that's formed in the middle of a supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Harrell (center) dances in the circle that’s formed inside the store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the entire month of October, which happens to be Filipino American History Month, videos of this “Late Night Market Madness” party series have been popping up all over social media, showing a similar scene at Seafood City locations around the country: Bay Area luminaries \u003ca href=\"https://www.kqed.org/arts/13938479/p-lo-filipino-food-bay-area-hella-hungry\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/noodz/reels/?hl=en\">DJ Noodles\u003c/a> flexed their Filipino star power at Eagle Rock Plaza in L.A., and DJs in Seattle hyped up the crowd with a Backstreet Boys singalong.\u003c/p>\n\u003cp>But the whole thing started in Daly City. The supermarket dance parties were the brainchild of Vallejo-raised JP Breganza, who DJed his first Seafood City gig in September to kick off the store’s new night market series. Videos of those first parties — shot by the Filipino American nonprofit \u003ca href=\"https://www.instagram.com/sf_kollective/?hl=en\">SF Kollective\u003c/a>, which co-organized several of the events — immediately went viral. \u003ca href=\"https://www.instagram.com/p/DOQs-t2kRWS/?hl=en\">In the videos\u003c/a>, the store isn’t as crowded as it would get for the later editions. But you can see random shoppers, and even Seafood City employees, getting down to Breganza’s perfectly curated set of danceable \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm\">Original Pilipino Music\u003c/a> (OPM), \u003ca href=\"https://en.wikipedia.org/wiki/Budots\">budots\u003c/a> tracks from Bandcamp, and other songs that he scoured obscure Facebook DJ groups to find — all with the goal of hyping up an intergenerational crowd. He always ended by playing his favorite Filipino alt-rock band, Mayonnaise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That whole set was to celebrate Filipino-dom in its entirety,” Breganza says about his selection of artists not usually heard outside of the Philippines.\u003c/p>\n\u003cp>The unique grocery store partnership might have never happened if Breganza hadn’t started thinking outside the box, going out of his way to play DJ sets in the most random places: an all-night \u003ca href=\"https://www.instagram.com/p/DMxwnKvxd8C/?hl=en\">Street Fighter 2 gaming session\u003c/a>, on a \u003ca href=\"https://www.instagram.com/p/DMUjanNOjG-/?hl=en\">cliffside\u003c/a>, and even at a \u003ca href=\"https://www.instagram.com/p/DOF9Hu1Dv3-/?hl=en\">driving range\u003c/a>. “I don’t like the club,” he says. “I don’t like what it offers, the environment that it brings and what it enables.\u003c/p>\n\u003cfigure id=\"attachment_13983057\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg\" alt=\"A DJ poses for a portrait at his turntable, which is set up inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">JP Breganza, the Filipino American DJ who spearheaded Seafood City’s popular dance party series, poses for a portrait at the supermarket’s Daly City location. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He began recording his more low-key live sets and posting them online. “Honestly speaking, I was being petty to the DJ community, saying [the scene] is oversaturated and that there’s nowhere to play. And I’m the type of person to go, ‘Well, have you played under a tree or on top of a rock?’”\u003c/p>\n\u003cp>In July, someone commented on one of those videos, “You should do this at Seafood City.” Breganza thought it was a dumb idea — but also exactly the kind of thing he was willing to try. Of course, every Filipino kid growing up in the States has memories of buying groceries at Seafood City, which has been a staple in Filipino American enclaves, especially in California, since the late ’80s. It was usually out of necessity, though, and not recreational. Still, Breganza reposted the comment, tagging Jollibee, Island Pacific Supermarket and Seafood City. Seafood City bit first, and the rest was history: Five hours later, they’d booked him for the series of night market events they were about to promote.\u003c/p>\n\u003cfigure id=\"attachment_13983055\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg\" alt=\"A crowd lined up outside a Seafood City supermarket at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of attendees lining up outside the Daly City grocery store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at its core, the Seafood City dance party craze that Breganza started isn’t \u003ci>just \u003c/i>about DJing in an unusual location. Growing up in the Bay Area’s Filipino American community, he says Daly City always had a special place in his heart. It’s the place he associates with the huge Filipino family parties where he watched his aunties and cousins and grandparents interact. “Whenever I went to Daly City, I always knew it was gonna be a big party. I had no idea who was going to be there,” he remembers. “I’m going to see all the aunties and uncles that I still don’t know their names because there’s so many of them. That’s also where I meet all the kids. I was absorbing it all.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As the youngest among his family friends, Breganza was used to peeking in during these house parties and seeing people learn how to play a video game or set up turntables for a dance in the garage. That was exactly the type of intergenerational atmosphere he wanted to recreate at Seafood City. After all those treks between Vallejo and Daly City when he was growing up, it made sense for his set to pay homage to what he calls a “\u003ca href=\"https://www.instagram.com/jpbreganza/reel/DPr-nh2EjAG/?hl=en\">home that once was\u003c/a>.”\u003c/p>\n\u003cp>It wasn’t until the day of the first gig that Breganza learned that Seafood City would be shutting down two checkstands, and that he would actually be spinning inside of the store during store hours. That setup changed everything. “I brought the loudest speakers, just to make sure I filled up the whole store,” he says, explaining how he brought his own equipment for the two-hour drive from Rancho Cordova, where he now lives. “The most important part for me was also for the employees to experience it, because they’re not built for the nightlife and they need the music. I’m giving them a piece of home.”\u003c/p>\n\u003cfigure id=\"attachment_13983052\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg\" alt=\"A cashier rings up a customer inside a busy supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jasmin San Jose, a cashier, rings up a customer in the middle of one of Seafood City’s late-night DJ parties. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For other Filipino Americans who came out to the Seafood City parties after they’d turned into a full-blown phenomenon, the supermarket blowouts felt like more than just another store promotion. On the night I visited, DJ Illyst from San José was one of the DJs on deck, and she had, of course, never spun at a grocery store during the year and a half that she’d been DJing professionally. “It feels like a family party. Doing all the line dances, the singalongs — there’s way more energy than going to the club,” she says.\u003c/p>\n\u003cp>Meanwhile, Steph Balon, executive director of the nonprofit \u003ca href=\"https://kapwakulturalcenter.org/\">Kapwa Kultural Center & Café\u003c/a>, was there in the crowd with her nine-year-old son, Koa, for the second night in a row. The previous night, when DJ Cutso was on the turntables, Koa had felt the spirit of the song so intensely that “before I knew it, he was gone,” Balon recalls. Eventually, she found him on top of the checkstand, dancing his heart out for the cheering crowd. It made Balon think about her own childhood growing up between San Ramon and the Peninsula. She remembers how at family parties, everyone would dance in a circle, egged on by their aunts and uncles. Now, her son was getting to partake in the same coming-of-age ritual. Only it was on a larger scale — and at the grocery store of all places.\u003c/p>\n\u003cfigure id=\"attachment_13983047\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg\" alt=\"Four young children eating a spread of Filipino street food in a supermarket food court.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Four young children take a break from the dance party to enjoy a spread of Filipino street food in the Seafood City food court. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that the events’ popularity has spread all the way to L.A., Las Vegas and Houston, with flashier, more famous DJs, I ask Breganza whether he minds that Seafood City has taken his “dumb idea” and run with it. But Breganza says, “It was never about [claiming] it’s my terrain.” He’s just happy that the idea to spin a set in every Filipino enclave has taken off — with or without him.\u003c/p>\n\u003cp>“I want to work on a project where I can curate regional sound amongst the Filipino community,” he says of his ultimate goal. “What if the Houston DJs were playing chopped-and-screwed versions of OPM, or Chicago was playing house versions?”\u003c/p>\n\u003cp>For now, he’s focusing on the Bay Area, and instilling a sense of Filipino pride along with that early ’90s family party nostalgia. Starting with these Daly City supermarket gigs, he’s already done just that, turning a “dumb idea” into a brilliant marketing partnership — and also something much deeper. Whether it’s creating that perfect love ballad mashup for his set or grabbing the mic to entertain shoppers and workers alike, Breganza doesn’t want the important stuff to get lost in the virality of the moment, or competition between different Seafood City locations.\u003c/p>\n\u003cfigure id=\"attachment_13983050\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg\" alt=\"A crowd of Filipino Americans dancing and singing inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Borland (front) dances during DJ Boogie Brown’s set. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As SF Kollective co-founder Dean Urriza \u003ca href=\"https://www.instagram.com/reel/DQUGtLPEa5Y/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">recently pointed out\u003c/a> on Instagram: “This is and always will be about community, and showing up for each other, not showing out.”\u003c/p>\n\u003cp>What Breganza hopes to provide, then, is that missing piece — that feeling of being among family, even with people you’ve never met. On the night I came out to Seafood City, I’d brought four cousins with me. We all grew up in Daly City when our Lola and Lolo immigrated from the Philippines in the mid-’80s. For us, the party was a chance to relive childhood memories one Filipino love ballad at a time — in true Filipino tradition, with plenty of delicious food to share with our neighbors and friends.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The final Late Night Madness dance parties for Filipino American History Month will be on Oct. 31 and Nov. 1 from 8 p.m.–midnight at the Daly City Seafood City (1420 Southgate Ave.). Since the event coincides with Halloween, guests who come in their best Filipino costumes will get a free BBQ meal. \u003c/i>\u003ca href=\"https://www.instagram.com/sosyalstages/?hl=en\">\u003ci>Sosyal Stages\u003c/i>\u003c/a>\u003ci> will be spinning EDM. The event is all ages, and entry is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-festivals-outdoor-block-parties-food-fun-bay-area-2025",
"title": "15 of the Best Outdoor Festivals in the Bay Area This Fall",
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"headTitle": "15 of the Best Outdoor Festivals in the Bay Area This Fall | KQED",
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"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Mother Nature clearly overheard us discussing this year’s frigid start to summer in the Bay Area. Now, as temperatures around the region rise and we transition into “real summer” (also known as autumn), here’s some highlights of the season’s festivals and street fairs. \u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13974858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Performances at the Yerba Buena Gardens Festival are always free. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/events/?gad_source=1&gad_campaignid=36955909&gbraid=0AAAAAD3Ys4dhgMHawicf5GGZOYX0Sz9gJ\">Yerba Buena Gardens Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Through Nov. 1\u003c/i>\u003cbr>\n\u003ci>Yerba Buena Gardens, San Francisco\u003c/i> \u003c/p>\n\u003cp>This series of free shows has a little bit of something for everyone, including poetry with \u003ca href=\"https://www.niamcallister.com/\">Nia Pearl\u003c/a>, a performance by the\u003ca href=\"http://www.parangal.org/\"> Parangal Dance Company\u003c/a>, puppet shows by \u003ca href=\"https://www.caterpillarpuppets.com/\">Joe Leon\u003c/a> and music from the likes of\u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\"> Samora Pinderhughes\u003c/a> and the \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby Orchestra\u003c/a>. Held in the open grounds between the Metreon and SFMOMA, the series concludes with a “Halloween Hoopla” event. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/cultura-fest-2025-tickets-1502121548989?aff=ebdssbdestsearch\">Cultura Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 23\u003c/i>\u003cbr>\n\u003ci>Grand Avenue, South San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South San Francisco comes alive for this free street party, held along the city’s main thoroughfare. Stand-up comedian\u003ca href=\"https://www.hoozay.tv/\"> Jose ‘Hoozay’ Velasquez\u003c/a> and onetime \u003ci>The Voice\u003c/i> finalist \u003ca href=\"https://www.instagram.com/cathiamusic/?hl=en\">Cáthia\u003c/a> are among the performers at Cultura Fest, which also includes a community parade, a visual art exhibition, Lucha Libre wrestling, Latin American cuisine, a craft fair and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bizerkeley-food-fest-week-exclusive-events-sept-1st-7th-tickets-1502022893909?aff=ebdssbdestsearch\">Bizerkeley Food Fest Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 1–7\u003c/i>\u003cbr>\n\u003ci>Various venues, Berkeley and North Oakland\u003c/i>\u003c/p>\n\u003cp>Erika Hazel, also known as the Bizerkeley Vegan, founded this annual festival to celebrate meat- and dairy-free lifestyles. The week’s events include a screening of the food-systems documentary \u003ci>They’re Trying to Kill Us\u003c/i>, a pickleball tournament, a vegan mac & cheese contest and more.\u003c/p>\n\u003cfigure id=\"attachment_13980412\" class=\"wp-caption aligncenter\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg\" alt=\"\" width=\"1136\" height=\"757\" class=\"size-full wp-image-13980412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-768x512.jpg 768w\" sizes=\"auto, (max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Latin soul singer Joe Bataan will perform at this year’s Chicano Soul Fest in San Jose. \u003ccite>(Courtesy Joe Bataan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/chicano-soul-fest-tickets-1273321261169?aff=ebdssbdestsearch\">Chicano Soul Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 8\u003c/i>\u003cbr>\n\u003ci>History Park, San Jose\u003c/i>\u003c/p>\n\u003cp>Onstage at last year’s Chicano Soul Fest,\u003ca href=\"https://www.instagram.com/reel/DAJiJq2Sd82/?hl=en\"> Sarah La Morena\u003c/a> explained how she, an African American woman, was raised by a Mexican family — and then delivered a Banda performance that quickly went viral. This year’s festival features Latin soul legend Joe Bataan, Aztec dancers, hip-hop group Lighter Shade of Brown, Chicano resistance art, lowrider bikes and cars, and a tribute to the late soul singer Brenton Wood. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.org/sf-program\">Annual Contemporary Art Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 13\u003c/i>\u003cbr>\n\u003ci>Chinatown, San Francisco\u003c/i>\u003c/p>\n\u003cp>This year’s event, titled \u003ci>Super Flex: Powered by Alter Egos and Shadow Selves,\u003c/i> features modern artworks like \u003ca href=\"https://www.instagram.com/sholehasgary/?hl=en\">Sholeh Asgary\u003c/a>’s sound performance “41 Alleys” — a “site-specific radio project” inspired by Golden Star Radio,” the first Chinese-language station on the continent formerly located at 850 Grant Avenue. A sensory tank and archival government documents make up other projects at this dynamic art festival.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mill-valley-fall-arts-festival-september-20-21-2025-hours-10-5-tickets-1405716859969?aff=ebdssbdestsearch\">Mill Valley Fall Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20 and 21\u003c/i>\u003cbr>\n\u003ci>Old Mill Park, Mill Valley\u003c/i>\u003c/p>\n\u003cp>Mill Valley has changed drastically in the 55 years since a third-grade children’s chorus had \u003ca href=\"https://www.youtube.com/watch?v=qcRIl23-t_s\">a minor hit paying tribute to the small Marin County town\u003c/a>. Along with live performances, the festival also hosts fine crafts from over 100 different makers and a children’s grove with magic tricks and storytelling — for the third graders of today. \u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert will lend his eye-popping turntable skills to benefit the Daly City Library. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/dcplas-art-lit-fest-tickets-1478982208599?aff=ebdssbdestsearch\">Daly City Public Library’s Art & Lit Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 27\u003c/i>\u003cbr>\n\u003ci>Serramonte Center, Daly City\u003c/i>\u003c/p>\n\u003cp>At this day-long celebration of reading, art, poetry and music, \u003ca href=\"https://koit.com/shows/freska/\">96.5 KOIT radio show host Freska\u003c/a>,\u003ca href=\"https://www.instagram.com/djajaxsf/?hl=en\"> DJ Ajax\u003c/a> and world-renowned \u003ca href=\"https://www.djqbert.com/\">DJ QBert\u003c/a> are scheduled attractions. The free, all-ages event doubles as a fundraiser for the Daly City Public Library. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.folsomstreet.org/folsom-street-fair\">Folsom Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28\u003c/i>\u003cbr>\n\u003ci>Folsom Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>For some, art is a matter of what you’re wearing (or not wearing). The Folsom Street Fair (pro tip: don’t try to bring children) celebrates leather, bondage and the liberating act of letting the sun shine where the sun doesn’t shine. \u003c/p>\n\u003ch2>\u003ca href=\"https://youtu.be/sshhb5ISHvI?si=PelIllKibSJTWDbQ\">Oktoberfest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Throughout October\u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i> \u003c/p>\n\u003cp>Lederhosen! Tubas! And most importantly: beer! \u003ca href=\"https://www.oaktoberfest.org/\">Oakland’s “Oaktoberfest”\u003c/a> takes place on Oct. 4 and Sunday Oct. 5 East Oakland’s Dimond District. On the peninsula,\u003ca href=\"https://www.mvoktoberfest.com/\"> Mountain View’s Oktoberfest\u003c/a> is the following weekend, Oct. 11 and 12. And if you’re in the South Bay,\u003ca href=\"https://campbelloktoberfest.com/\"> Campbell’s Oktoberfest\u003c/a> is Oct. 18 and 19. \u003c/p>\n\u003cfigure id=\"attachment_13980417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelah (left), 12, a member of the Blue Bird Riders from Manteca, rides with her friend Aniyah, 13, during the Oakland Black Cowboy Association parade in Oakland on Oct. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandbca.org/\">Oakland’s Black Cowboy Parade\u003c/a> / \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4 and Oct. 11\u003c/i>\u003cbr>\n\u003ci>Little Bobby Hutton Park, Oakland\u003c/i>\u003c/p>\n\u003cp>After celebrating its 50 anniversary last year,\u003ca href=\"https://www.kqed.org/news/12008139/oaklands-black-cowboy-association-celebrates-50-years-with-parade-and-festival\"> the Oakland Black Cowboy Association\u003c/a> returns for its annual parade, with food vendors, dancers, tales of Black history and pony rides. The following Saturday sees the return of the long-running \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which starts with a Black Panthers free breakfast and includes live music, poetry, DJs and a historic Black Panther Party exhibition.\u003c/p>\n\u003ch2>\u003ca href=\"https://castrostreetfair.org/fair/\">The Castro Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 5\u003c/i>\u003cbr>\n\u003ci>Castro Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>Now in its 51st year, this celebration of community and resilience takes over the Castro for an event with all proceeds going to charitable causes. Live music, DJs, food, activities and more are heralded by Harvey Milk Plaza’s giant rainbow flag. \u003c/p>\n\u003ch2>\u003ca href=\"https://gardensatlakemerritt.org/autumn-lights-festival-2025/\">Autumn Lights Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 16–18\u003c/i>\u003cbr>\n\u003ci>Lake Merritt, Oakland\u003c/i>\u003c/p>\n\u003cp>An event tailor-made for those who think art is best served in the form of colorfully illuminated lights decoratively placed in a garden — preferably in Oakland. \u003c/p>\n\u003ch2>\u003ca href=\"https://hmbpumpkinfest.com/\">Half Moon Bay Art & Pumpkin Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 18–19\u003c/i>\u003cbr>\n\u003ci>Half Moon Bay\u003c/i>\u003c/p>\n\u003cp>The winner of last year’s world championship pumpkin weigh-off at this festival drove 32 hours\u003ca href=\"https://abc11.com/post/2471-pound-gourd-minnesota-wins-world-championship-pumpkin-weigh-off-california/15430625/\"> from Minnesota\u003c/a> with a pumpkin that measured over 7 feet tall and 20 feet around, and weighed \u003ca href=\"https://hmbweighoff.com/results.html\">2,471\u003c/a> pounds. Who will win this year? Find out at this year’s weekend event – and maybe even get a photo with the winner.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland’s Dia De Los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 2\u003c/i>\u003cbr>\n\u003ci>Fruitvale Village, Oakland\u003c/i>\u003c/p>\n\u003cp>Sugar skulls and marigolds are in great supply at this vibrant outdoor fair — and especially this year, as the event celebrates its 30th anniversary. \u003c/p>\n\u003cp>\u003cb>Briefly Noted\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://sfcheesefest.com/\">SF Cheese Fest\u003c/a> (Sept. 13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/filipino-island-fest-tickets-1389794977189?aff=ebdssbdestsearch\">Filipino Island Fest\u003c/a> (Oct. 4; Alameda)\u003c/p>\n\u003cp>\u003ca href=\"https://fleetweeksf.org/\">Fleet Week\u003c/a> (Oct. 5–13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.litquake.org/2024-festival\">Litquake\u003c/a> (Oct. 9–25; San Francisco)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.fallchocolatesalon.com/\">Fall Holiday Chocolate Salon and Festival\u003c/a> (Nov. 23; San Francisco)\u003c/p>\n\n",
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"excerpt": "Black cowboys, vegan food, art, lowriders, books, lederhosen — the Bay's fall festivals have something for everybody.",
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"title": "15 of the Best Outdoor Festivals in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Mother Nature clearly overheard us discussing this year’s frigid start to summer in the Bay Area. Now, as temperatures around the region rise and we transition into “real summer” (also known as autumn), here’s some highlights of the season’s festivals and street fairs. \u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13974858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Performances at the Yerba Buena Gardens Festival are always free. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/events/?gad_source=1&gad_campaignid=36955909&gbraid=0AAAAAD3Ys4dhgMHawicf5GGZOYX0Sz9gJ\">Yerba Buena Gardens Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Through Nov. 1\u003c/i>\u003cbr>\n\u003ci>Yerba Buena Gardens, San Francisco\u003c/i> \u003c/p>\n\u003cp>This series of free shows has a little bit of something for everyone, including poetry with \u003ca href=\"https://www.niamcallister.com/\">Nia Pearl\u003c/a>, a performance by the\u003ca href=\"http://www.parangal.org/\"> Parangal Dance Company\u003c/a>, puppet shows by \u003ca href=\"https://www.caterpillarpuppets.com/\">Joe Leon\u003c/a> and music from the likes of\u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\"> Samora Pinderhughes\u003c/a> and the \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby Orchestra\u003c/a>. Held in the open grounds between the Metreon and SFMOMA, the series concludes with a “Halloween Hoopla” event. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/cultura-fest-2025-tickets-1502121548989?aff=ebdssbdestsearch\">Cultura Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 23\u003c/i>\u003cbr>\n\u003ci>Grand Avenue, South San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South San Francisco comes alive for this free street party, held along the city’s main thoroughfare. Stand-up comedian\u003ca href=\"https://www.hoozay.tv/\"> Jose ‘Hoozay’ Velasquez\u003c/a> and onetime \u003ci>The Voice\u003c/i> finalist \u003ca href=\"https://www.instagram.com/cathiamusic/?hl=en\">Cáthia\u003c/a> are among the performers at Cultura Fest, which also includes a community parade, a visual art exhibition, Lucha Libre wrestling, Latin American cuisine, a craft fair and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bizerkeley-food-fest-week-exclusive-events-sept-1st-7th-tickets-1502022893909?aff=ebdssbdestsearch\">Bizerkeley Food Fest Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 1–7\u003c/i>\u003cbr>\n\u003ci>Various venues, Berkeley and North Oakland\u003c/i>\u003c/p>\n\u003cp>Erika Hazel, also known as the Bizerkeley Vegan, founded this annual festival to celebrate meat- and dairy-free lifestyles. The week’s events include a screening of the food-systems documentary \u003ci>They’re Trying to Kill Us\u003c/i>, a pickleball tournament, a vegan mac & cheese contest and more.\u003c/p>\n\u003cfigure id=\"attachment_13980412\" class=\"wp-caption aligncenter\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg\" alt=\"\" width=\"1136\" height=\"757\" class=\"size-full wp-image-13980412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-768x512.jpg 768w\" sizes=\"auto, (max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Latin soul singer Joe Bataan will perform at this year’s Chicano Soul Fest in San Jose. \u003ccite>(Courtesy Joe Bataan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/chicano-soul-fest-tickets-1273321261169?aff=ebdssbdestsearch\">Chicano Soul Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 8\u003c/i>\u003cbr>\n\u003ci>History Park, San Jose\u003c/i>\u003c/p>\n\u003cp>Onstage at last year’s Chicano Soul Fest,\u003ca href=\"https://www.instagram.com/reel/DAJiJq2Sd82/?hl=en\"> Sarah La Morena\u003c/a> explained how she, an African American woman, was raised by a Mexican family — and then delivered a Banda performance that quickly went viral. This year’s festival features Latin soul legend Joe Bataan, Aztec dancers, hip-hop group Lighter Shade of Brown, Chicano resistance art, lowrider bikes and cars, and a tribute to the late soul singer Brenton Wood. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.org/sf-program\">Annual Contemporary Art Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 13\u003c/i>\u003cbr>\n\u003ci>Chinatown, San Francisco\u003c/i>\u003c/p>\n\u003cp>This year’s event, titled \u003ci>Super Flex: Powered by Alter Egos and Shadow Selves,\u003c/i> features modern artworks like \u003ca href=\"https://www.instagram.com/sholehasgary/?hl=en\">Sholeh Asgary\u003c/a>’s sound performance “41 Alleys” — a “site-specific radio project” inspired by Golden Star Radio,” the first Chinese-language station on the continent formerly located at 850 Grant Avenue. A sensory tank and archival government documents make up other projects at this dynamic art festival.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mill-valley-fall-arts-festival-september-20-21-2025-hours-10-5-tickets-1405716859969?aff=ebdssbdestsearch\">Mill Valley Fall Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20 and 21\u003c/i>\u003cbr>\n\u003ci>Old Mill Park, Mill Valley\u003c/i>\u003c/p>\n\u003cp>Mill Valley has changed drastically in the 55 years since a third-grade children’s chorus had \u003ca href=\"https://www.youtube.com/watch?v=qcRIl23-t_s\">a minor hit paying tribute to the small Marin County town\u003c/a>. Along with live performances, the festival also hosts fine crafts from over 100 different makers and a children’s grove with magic tricks and storytelling — for the third graders of today. \u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert will lend his eye-popping turntable skills to benefit the Daly City Library. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/dcplas-art-lit-fest-tickets-1478982208599?aff=ebdssbdestsearch\">Daly City Public Library’s Art & Lit Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 27\u003c/i>\u003cbr>\n\u003ci>Serramonte Center, Daly City\u003c/i>\u003c/p>\n\u003cp>At this day-long celebration of reading, art, poetry and music, \u003ca href=\"https://koit.com/shows/freska/\">96.5 KOIT radio show host Freska\u003c/a>,\u003ca href=\"https://www.instagram.com/djajaxsf/?hl=en\"> DJ Ajax\u003c/a> and world-renowned \u003ca href=\"https://www.djqbert.com/\">DJ QBert\u003c/a> are scheduled attractions. The free, all-ages event doubles as a fundraiser for the Daly City Public Library. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.folsomstreet.org/folsom-street-fair\">Folsom Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28\u003c/i>\u003cbr>\n\u003ci>Folsom Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>For some, art is a matter of what you’re wearing (or not wearing). The Folsom Street Fair (pro tip: don’t try to bring children) celebrates leather, bondage and the liberating act of letting the sun shine where the sun doesn’t shine. \u003c/p>\n\u003ch2>\u003ca href=\"https://youtu.be/sshhb5ISHvI?si=PelIllKibSJTWDbQ\">Oktoberfest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Throughout October\u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i> \u003c/p>\n\u003cp>Lederhosen! Tubas! And most importantly: beer! \u003ca href=\"https://www.oaktoberfest.org/\">Oakland’s “Oaktoberfest”\u003c/a> takes place on Oct. 4 and Sunday Oct. 5 East Oakland’s Dimond District. On the peninsula,\u003ca href=\"https://www.mvoktoberfest.com/\"> Mountain View’s Oktoberfest\u003c/a> is the following weekend, Oct. 11 and 12. And if you’re in the South Bay,\u003ca href=\"https://campbelloktoberfest.com/\"> Campbell’s Oktoberfest\u003c/a> is Oct. 18 and 19. \u003c/p>\n\u003cfigure id=\"attachment_13980417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelah (left), 12, a member of the Blue Bird Riders from Manteca, rides with her friend Aniyah, 13, during the Oakland Black Cowboy Association parade in Oakland on Oct. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandbca.org/\">Oakland’s Black Cowboy Parade\u003c/a> / \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4 and Oct. 11\u003c/i>\u003cbr>\n\u003ci>Little Bobby Hutton Park, Oakland\u003c/i>\u003c/p>\n\u003cp>After celebrating its 50 anniversary last year,\u003ca href=\"https://www.kqed.org/news/12008139/oaklands-black-cowboy-association-celebrates-50-years-with-parade-and-festival\"> the Oakland Black Cowboy Association\u003c/a> returns for its annual parade, with food vendors, dancers, tales of Black history and pony rides. The following Saturday sees the return of the long-running \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which starts with a Black Panthers free breakfast and includes live music, poetry, DJs and a historic Black Panther Party exhibition.\u003c/p>\n\u003ch2>\u003ca href=\"https://castrostreetfair.org/fair/\">The Castro Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 5\u003c/i>\u003cbr>\n\u003ci>Castro Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>Now in its 51st year, this celebration of community and resilience takes over the Castro for an event with all proceeds going to charitable causes. Live music, DJs, food, activities and more are heralded by Harvey Milk Plaza’s giant rainbow flag. \u003c/p>\n\u003ch2>\u003ca href=\"https://gardensatlakemerritt.org/autumn-lights-festival-2025/\">Autumn Lights Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 16–18\u003c/i>\u003cbr>\n\u003ci>Lake Merritt, Oakland\u003c/i>\u003c/p>\n\u003cp>An event tailor-made for those who think art is best served in the form of colorfully illuminated lights decoratively placed in a garden — preferably in Oakland. \u003c/p>\n\u003ch2>\u003ca href=\"https://hmbpumpkinfest.com/\">Half Moon Bay Art & Pumpkin Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 18–19\u003c/i>\u003cbr>\n\u003ci>Half Moon Bay\u003c/i>\u003c/p>\n\u003cp>The winner of last year’s world championship pumpkin weigh-off at this festival drove 32 hours\u003ca href=\"https://abc11.com/post/2471-pound-gourd-minnesota-wins-world-championship-pumpkin-weigh-off-california/15430625/\"> from Minnesota\u003c/a> with a pumpkin that measured over 7 feet tall and 20 feet around, and weighed \u003ca href=\"https://hmbweighoff.com/results.html\">2,471\u003c/a> pounds. Who will win this year? Find out at this year’s weekend event – and maybe even get a photo with the winner.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland’s Dia De Los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 2\u003c/i>\u003cbr>\n\u003ci>Fruitvale Village, Oakland\u003c/i>\u003c/p>\n\u003cp>Sugar skulls and marigolds are in great supply at this vibrant outdoor fair — and especially this year, as the event celebrates its 30th anniversary. \u003c/p>\n\u003cp>\u003cb>Briefly Noted\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://sfcheesefest.com/\">SF Cheese Fest\u003c/a> (Sept. 13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/filipino-island-fest-tickets-1389794977189?aff=ebdssbdestsearch\">Filipino Island Fest\u003c/a> (Oct. 4; Alameda)\u003c/p>\n\u003cp>\u003ca href=\"https://fleetweeksf.org/\">Fleet Week\u003c/a> (Oct. 5–13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.litquake.org/2024-festival\">Litquake\u003c/a> (Oct. 9–25; San Francisco)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fallchocolatesalon.com/\">Fall Holiday Chocolate Salon and Festival\u003c/a> (Nov. 23; San Francisco)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "keiths-chicken-waffles-crunchiest-fried-chicken-daly-city-late-night",
"title": "Keith’s Chicken N Waffles Slings Some of the Bay’s Crunchiest Fried Chicken",
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"content": "\u003cfigure id=\"attachment_13979465\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1.jpeg\" alt=\"Illustration: two men devour fried chicken and waffles inside a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-1536x1536.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The fried chicken at Keith’s Chicken N Waffles is extraordinarily crunchy and flavorful. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>In a sparse, vaguely industrial stretch of Daly City, tucked among a cluster of auto body shops, a tiny storefront sells some of the best fried chicken in the Bay Area — dollar for dollar, almost certainly the best you can get your hands on at 10 o’clock on a Wednesday night, which is when we were inducted into the cult of \u003ca href=\"https://www.instagram.com/keithschickennwaffles/?hl=en\">Keith’s Chicken N Waffles\u003c/a>.\u003c/p>\n\u003cp>Keith’s came onto our radar a few months ago, when it \u003ca href=\"https://www.instagram.com/p/DEk_2lDzRty/?hl=en\">extended its hours\u003c/a> to midnight four nights a week. But for the longest time afterward, we couldn’t find any online evidence of anyone ever actually eating there late at night: No one picked up the phone the dozen or so times I called, and the one time we showed up, hungry, on a Friday night, the place was closed. No sign on the door or anything.\u003c/p>\n\u003cp>So we were thrilled to confirm firsthand that you \u003ci>can\u003c/i> score a plate of top-notch chicken and waffles in Daly City until midnight — or at least 11:30 p.m., when the shop puts in its last call for orders. (The hours are a little wonky, though, so if you’re trekking from the other side of the Bay, you should double-check the \u003ca href=\"https://keithschickennwaffles.com/menu\">restaurant website\u003c/a> to make sure they are in fact open and accepting orders before heading out.)\u003c/p>\n\u003cp>The shop itself looks like your standard corner soul food joint — a bit cramped and well-worn, with black and white checkerboard-tile flooring and a jaunty, muscle-bound cartoon rooster painted on the facade. A few framed paintings of Bob Marley and Tupac hang on the walls, and a hand-written sign next to the counter reads: “Don’t stare. After you order please sit your ass down.”\u003c/p>\n\u003cfigure id=\"attachment_13979468\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2.jpeg\" alt=\"Exterior of a chicken and waffles restaurant lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-1536x1536.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Keith’s is now open late — until midnight — Wednesday through Saturday. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You will have to wait a little while, at least. One of the restaurant’s hallmarks is that the cooks fry every batch of chicken to order; there are no heat lamps to speak of. The chicken comes out burn-your-tongue hot, with a thin, well-bronzed, shatteringly crisp sheath. This was the crunchiest fried chicken I’ve eaten in recent memory, and some of the most flavorful too. I don’t know what they put in their seasoning mix, but every piece is seasoned extraordinarily well down to the last nook, cranny and crevice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the shop’s quirks is that the chicken pieces come in a range of sizes — we received a big, ample thigh, a slightly smaller one, and a rather diminutive drumstick. It didn’t bother us. If anything, the nonuniformity underscored Keith’s Chicken N Waffles’ status as a homegrown, made-from-scratch operation, not some cookie-cutter McNugget factory.\u003c/p>\n\u003cp>If you happen to be more of a chicken tender connoisseur, Keith’s still has you covered. The tenders here are plump, moist and uncommonly large — and, again, seasoned so aggressively well that you can enjoy them straight-up. (Though I did like the orange-gold, Carolina-style, honey-based barbecue sauce that the shop provided.)\u003c/p>\n\u003cp>One remarkable thing about Keith’s is how reasonable the prices are. Combo meals — all named after rappers (the DMX, the Rick Ross and so on) — start at around $12 and come with waffles, sides, soda, the whole nine yards, and there’s always a bargain-priced daily special too (say, three wings and a waffle for $10). The upshot is you wind up paying cheaper-than-fast-food prices — I’m looking at you, Popeyes and Raising Cane’s — for fresher, more generous portions of chicken.\u003c/p>\n\u003cp>Meanwhile, the soul food side dishes (soupy, well-spiced collard greens, proper Southern-style mac and cheese, and more) were all better than solid, and we decided to save the saucy party wings and promising-looking fried chicken sandwich for our next visit.\u003c/p>\n\u003cp>[aside postID='arts_13978355,arts_13956683,arts_13969092']Of course at Keith’s Chicken N Waffles, the chicken is only half the story. In much of the Bay Area, \u003ca href=\"https://www.kqed.org/food/1337630/chicken\">fried chicken and waffles\u003c/a> is strictly a brunch-time treat, so it’s a rare pleasure to be able to score a good waffle late at night. And the waffles at Keith’s are very good, and available in a variety of flavors and sizes. We liked the standard Belgian waffle best: light, yeasty and super-buttery, with crisp edges, topped with a huge dollop of even more soft butter. It’s tasty enough that you don’t even really need to add syrup — though it’s hard to resist when the restaurant offers serve-yourself syrup, dispensed out of a gigantic coffee urn.\u003c/p>\n\u003cp>Anyone with a sweet tooth should also try the mini waffle trio, which comes with a pint-sized version of the standard waffle, plus a richly chocolatey (and surprisingly not-too-sweet) red velvet waffle and a waffle topped with candied yams.\u003c/p>\n\u003cp>And the union of the chicken and the waffles — of savory and sweet — is, of course, what has long made breakfast for dinner (or breakfast for a midnight snack) one of life’s most deeply pleasurable indulgences.\u003c/p>\n\u003cp>That alone makes Keith’s well worth a visit. It might not be the most vibey or bustling of the late-night food destinations we’ve frequented — when we visited, it seemed to be doing all takeout business past 9 p.m., as hungry teens and twentysomethings pulled up to pick up buckets of chicken and waffles before heading out into the night. But who needs vibe when the cooking is this good? The air hung thick with the smell of sweet syrup and hot fryer oil. A match, honestly, made in heaven.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://keithschickennwaffles.com/\">\u003ci>Keith’s Chicken N Waffles\u003c/i>\u003c/a>\u003ci> is open Wednesday through Saturday 11 a.m.–midnight, Sunday 11 a.m.–6 p.m. and Mondays and Tuesdays 11 a.m.–8 p.m. at 270 San Pedro Rd. in Daly City. It’s within walking distance of the Colma BART station.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979465\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1.jpeg\" alt=\"Illustration: two men devour fried chicken and waffles inside a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-1-1536x1536.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The fried chicken at Keith’s Chicken N Waffles is extraordinarily crunchy and flavorful. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>In a sparse, vaguely industrial stretch of Daly City, tucked among a cluster of auto body shops, a tiny storefront sells some of the best fried chicken in the Bay Area — dollar for dollar, almost certainly the best you can get your hands on at 10 o’clock on a Wednesday night, which is when we were inducted into the cult of \u003ca href=\"https://www.instagram.com/keithschickennwaffles/?hl=en\">Keith’s Chicken N Waffles\u003c/a>.\u003c/p>\n\u003cp>Keith’s came onto our radar a few months ago, when it \u003ca href=\"https://www.instagram.com/p/DEk_2lDzRty/?hl=en\">extended its hours\u003c/a> to midnight four nights a week. But for the longest time afterward, we couldn’t find any online evidence of anyone ever actually eating there late at night: No one picked up the phone the dozen or so times I called, and the one time we showed up, hungry, on a Friday night, the place was closed. No sign on the door or anything.\u003c/p>\n\u003cp>So we were thrilled to confirm firsthand that you \u003ci>can\u003c/i> score a plate of top-notch chicken and waffles in Daly City until midnight — or at least 11:30 p.m., when the shop puts in its last call for orders. (The hours are a little wonky, though, so if you’re trekking from the other side of the Bay, you should double-check the \u003ca href=\"https://keithschickennwaffles.com/menu\">restaurant website\u003c/a> to make sure they are in fact open and accepting orders before heading out.)\u003c/p>\n\u003cp>The shop itself looks like your standard corner soul food joint — a bit cramped and well-worn, with black and white checkerboard-tile flooring and a jaunty, muscle-bound cartoon rooster painted on the facade. A few framed paintings of Bob Marley and Tupac hang on the walls, and a hand-written sign next to the counter reads: “Don’t stare. After you order please sit your ass down.”\u003c/p>\n\u003cfigure id=\"attachment_13979468\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2.jpeg\" alt=\"Exterior of a chicken and waffles restaurant lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/keiths-2-1536x1536.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Keith’s is now open late — until midnight — Wednesday through Saturday. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You will have to wait a little while, at least. One of the restaurant’s hallmarks is that the cooks fry every batch of chicken to order; there are no heat lamps to speak of. The chicken comes out burn-your-tongue hot, with a thin, well-bronzed, shatteringly crisp sheath. This was the crunchiest fried chicken I’ve eaten in recent memory, and some of the most flavorful too. I don’t know what they put in their seasoning mix, but every piece is seasoned extraordinarily well down to the last nook, cranny and crevice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the shop’s quirks is that the chicken pieces come in a range of sizes — we received a big, ample thigh, a slightly smaller one, and a rather diminutive drumstick. It didn’t bother us. If anything, the nonuniformity underscored Keith’s Chicken N Waffles’ status as a homegrown, made-from-scratch operation, not some cookie-cutter McNugget factory.\u003c/p>\n\u003cp>If you happen to be more of a chicken tender connoisseur, Keith’s still has you covered. The tenders here are plump, moist and uncommonly large — and, again, seasoned so aggressively well that you can enjoy them straight-up. (Though I did like the orange-gold, Carolina-style, honey-based barbecue sauce that the shop provided.)\u003c/p>\n\u003cp>One remarkable thing about Keith’s is how reasonable the prices are. Combo meals — all named after rappers (the DMX, the Rick Ross and so on) — start at around $12 and come with waffles, sides, soda, the whole nine yards, and there’s always a bargain-priced daily special too (say, three wings and a waffle for $10). The upshot is you wind up paying cheaper-than-fast-food prices — I’m looking at you, Popeyes and Raising Cane’s — for fresher, more generous portions of chicken.\u003c/p>\n\u003cp>Meanwhile, the soul food side dishes (soupy, well-spiced collard greens, proper Southern-style mac and cheese, and more) were all better than solid, and we decided to save the saucy party wings and promising-looking fried chicken sandwich for our next visit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course at Keith’s Chicken N Waffles, the chicken is only half the story. In much of the Bay Area, \u003ca href=\"https://www.kqed.org/food/1337630/chicken\">fried chicken and waffles\u003c/a> is strictly a brunch-time treat, so it’s a rare pleasure to be able to score a good waffle late at night. And the waffles at Keith’s are very good, and available in a variety of flavors and sizes. We liked the standard Belgian waffle best: light, yeasty and super-buttery, with crisp edges, topped with a huge dollop of even more soft butter. It’s tasty enough that you don’t even really need to add syrup — though it’s hard to resist when the restaurant offers serve-yourself syrup, dispensed out of a gigantic coffee urn.\u003c/p>\n\u003cp>Anyone with a sweet tooth should also try the mini waffle trio, which comes with a pint-sized version of the standard waffle, plus a richly chocolatey (and surprisingly not-too-sweet) red velvet waffle and a waffle topped with candied yams.\u003c/p>\n\u003cp>And the union of the chicken and the waffles — of savory and sweet — is, of course, what has long made breakfast for dinner (or breakfast for a midnight snack) one of life’s most deeply pleasurable indulgences.\u003c/p>\n\u003cp>That alone makes Keith’s well worth a visit. It might not be the most vibey or bustling of the late-night food destinations we’ve frequented — when we visited, it seemed to be doing all takeout business past 9 p.m., as hungry teens and twentysomethings pulled up to pick up buckets of chicken and waffles before heading out into the night. But who needs vibe when the cooking is this good? The air hung thick with the smell of sweet syrup and hot fryer oil. A match, honestly, made in heaven.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://keithschickennwaffles.com/\">\u003ci>Keith’s Chicken N Waffles\u003c/i>\u003c/a>\u003ci> is open Wednesday through Saturday 11 a.m.–midnight, Sunday 11 a.m.–6 p.m. and Mondays and Tuesdays 11 a.m.–8 p.m. at 270 San Pedro Rd. in Daly City. It’s within walking distance of the Colma BART station.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "asian-food-bay-area-malls-jagalchi-serramonte-stonestown-westfield-valley-fair",
"title": "Asian Food Is Coming to Save a Mall Near You",
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"headTitle": "Asian Food Is Coming to Save a Mall Near You | KQED",
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"content": "\u003cp>[dropcap]F[/dropcap]rom the 1990s golden age of suburban sprawl, one Bay Area mall remains iconic among \u003ca href=\"https://www.kqed.org/arts/tag/filipino\">Filipino\u003c/a> Americans: Serramonte Center in Daly City, aka “Serra-Manila.” Throwback to ‘94, when Jocelyn Enriquez dominated 106.1 KMEL airwaves with her freestyle track “I’ve Been Thinking About You” — the first Pinay from my generation to make it on the radio — and Serramonte was the place to go back-to-school shopping, ask for someone’s pager number, or hard-launch a budding romance by simply holding hands in public.\u003c/p>\n\u003cp>In a time before cell phones and GPS, if you got lost, you always met up at the fountain in the center of the mall, which was so powerful, it gushed up to the skylight like Old Faithful every half hour. During the busy holiday season, \u003ca href=\"https://www.tiktok.com/@danes_panes/video/7472969415697403182?_r=1&_t=ZP-8wuJkYr1Lqh\">it provided a resting place for tired shoppers and grandparents\u003c/a> looking to entertain the kids with a shiny nickel and a wish or two.\u003c/p>\n\u003cp>But nostalgia couldn’t save Serramonte Center. The reality is that malls all over America have been dying for the past 25 years — pummeled by the Great Recession of 2008, mortally wounded by the rise of e-commerce via Amazon. For many of the Bay Area’s struggling malls, the pandemic was their swan song. At Serramonte, when the big box stores like Macy’s and Montgomery Ward started falling like dominoes, it was only a matter of time before the Spencer’s Gifts and Contempo Casuals followed suit. So, for years now, instead of packs of teens roaming the corridors, the mall has sat mostly empty. Its once-popular restaurants, like \u003ca href=\"https://www.sfgate.com/food/history/article/This-Bay-Area-pizza-chain-rose-to-fame-in-the-16378714.php\">Pizza and Pipes\u003c/a> and Elephant Bar or the nearby Peppermill, fell by the wayside.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>In 2017, the owners even hired consultants to redesign the mall based on feng shui principles, replacing the fountain with Zen-like koi ponds and live turtles on lily pads. None of it made much of a difference.\u003c/p>\n\u003cfigure id=\"attachment_13976955\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED.jpg\" alt='Entrance to a fancy new Korean grocery store. The sign reads, \"Jagalchi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jagalchi’s arrival marks the beginning of a new — and much more Asian — chapter for Serramonte Center. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Serramonte Center is hoping to pivot in the same direction as the small handful of Bay Area malls that \u003ci>are\u003c/i> still thriving: It’s going all in on Asian food. Earlier this spring the mall welcomed \u003ca href=\"https://www.instagram.com/jagalchi_official/?hl=en\">Jagalchi\u003c/a>, a glitzy Korean supermarket named after a famous fish market in Busan, sparking long lines in the spot where JCPenney once stood. And for the first time in a long time, it looked like there was hope for Serramonte to plot a comeback.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Malls all over the Bay Area – and \u003ca href=\"https://www.nbcnews.com/news/asian-america/asian-malls-us-are-thriving-post-pandemic-bucking-retail-trend-rcna96276\">down in Southern California too\u003c/a> — have followed this same playbook. Stonestown Galleria on the west side of SF was the first place where I noticed it. While the retail apocalypse decimated other malls in the greater San Francisco region, from San Bruno’s ghost town Tanforan Mall to the COVID-crippled San Francisco Centre on Market Street, Stonestown has seen \u003ca href=\"https://www.sfchronicle.com/opinion/article/sf-stonestown-asian-americans-18507747.php\">a resurgence\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976966\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED.jpg\" alt=\"Shopping carts bunched up at the entrance to a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shopping carts at the entrance to Jagalchi. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How did it do it? For starters, when the once-beloved Olive Garden and Chevys moved out, Stonestown didn’t replace them with other similarly generic chain restaurants. Instead, it began to welcome unique Asian specialty shops that served Japanese soufflé pancakes, fresh-made udon and Taiwanese fruit teas. It even added a revolving sushi bar, complete with robot servers, to warp you to Tokyo without the need for a passport. Not only did these new restaurants provide a draw, but the long lines and limited hours at places like Matcha Cafe Maiko gave an air of exclusivity that captured shoppers’ attention.\u003c/p>\n\u003cp>With Asian Americans composing a third of San Francisco’s population, and thanks to Stonestown’s prime location between the Sunset District and SF State, the pivot worked. And we’ve seen other malls follow the same formula: These days, San Jose’s Westfield Valley Fair — probably the most successful mall in the Bay Area — consists almost entirely of restaurants and retail shops geared toward Asian Americans.\u003c/p>\n\u003cfigure id=\"attachment_13976960\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED.jpg\" alt=\"Shoppers inside an upscale Asian bakery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Customers shop in Jagalchi’s bakery section. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976964\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED.jpg\" alt=\"Grocery store shelves full of different varieties of instant ramen.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Many different varieties of ramen. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was growing up, Daly City was mainly populated by middle-class Filipino families, who I can proudly say are part of a foodie-obsessed culture. Our geographical proximity to other Asian countries means we can eat Korean BBQ, Singaporean noodles and Vietnamese pho, and wash it down with Thai iced tea — all in the course of a day. Our craving for food is international, and there is no line too long or reservation system too complicated for us to not eventually dominate. So I’m betting that Serramonte Center leaning into its Filipino customers’ insatiable appetite will be the thing that finally makes us get off our couches to pay this old-school, once-forgotten mall another visit.\u003c/p>\n\u003cp>In March, I was invited to Jagalchi’s press preview and got to peruse the aisles sans shoppers, noting what might attract folks from all parts of the Peninsula to its mall location. Though there is no H-Mart-style food court, the supermarket does have a Michelin-pedigreed restaurant onsite and a deli section that offers plenty of samples to try. Each area of the supermarket was spacious, with entire sections dedicated to specialty products that would be relegated to the one “ethnic” aisle at your local Safeway. It wasn’t like Pacific Super on Alemany (RIP), with its cramped aisles and pervasive fishy smell — that was actually my comfort zone.\u003c/p>\n\u003cfigure id=\"attachment_13976957\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED.jpg\" alt=\"A shopper reaches for a package of Kewpie mayonnaise on the grocery store shelf.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author reaches for a package of Kewpie mayonnaise. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976963\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED.jpg\" alt=\"Packaged grilled eel lunchbox from an Asian grocery store.\" width=\"2000\" height=\"1265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1920x1214.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grilled eel dupbap, one of the many prepared meals sold at Jagalchi’s deli section. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stuffed my face with free kimbap and bulgogi samples like only an SF public school kid could. Meanwhile, the special press dinner at the sit-down restaurant, POGU, left much to be desired (it was all cold!). So I planned on coming back when Jagalchi was actually open to see how the rest of the mall fared in comparison.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956683,arts_13974308,arts_13939383']\u003c/span>A couple weekends ago, I pulled up to Serramonte’s food court parking lot and slowly made my way toward the other side of the mall, where Jagalchi was. What I noticed were more and more Asian food businesses I hadn’t seen before. First, I grabbed a still-warm madeleine muffin from Uncle Tetsu, which specializes in Japanese cheesecakes. To its right, a sign advertised the Izumi revolving sushi bar, coming soon. And as I reached the once-famous fountain, I saw it had been replaced by a mochi donut stand, what was left of the fountain now reduced to a mere trickle. The mall is now also home to the Taiwanese bakery chain 85C, a Korean hot dog kiosk and a stand selling trendy Dubai chocolate strawberry cups. And in the mall’s southern wing, where Jagalchi is housed, I was greeted by a huge billboard for the much-heralded Koi Palace dim sum restaurant, which is moving its flagship from its Gellert Boulevard location to the mall next year, nearly doubling its seating capacity.\u003c/p>\n\u003cp>In short, Serramonte’s Asian pivot is already well underway.\u003c/p>\n\u003cp>Even on a regular weekend, Jagalchi was still bustling in comparison to the rest of Serramonte, and for now, foot traffic doesn’t seem to have increased much. Only time will tell if new businesses like the dim sum palace and the revolving sushi restaurant will draw customers to the rest of the mall, the way Stonestown’s specialty food court has.\u003c/p>\n\u003cfigure id=\"attachment_13976959\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED.jpg\" alt=\"A woman sits in a mall foot court holding a madeleine cake.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author tries a madeleine from Uncle Tetsu, a Japanese bakery specializing in cheesecake. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing I did miss was the makeshift Sari Sari store that once stood where the mochi donut spot is now — a quaint Filipino snack stand in the center of the mall. With all the new Asian businesses moving in, none of them seem to cater specifically to the Filipino community. Moving forward, it would be nice to see some Fil-Am restaurants or dessert shops geared toward those day-one supporters.\u003c/p>\n\u003cp>Nostalgia aside, it’s clear that at least in the Bay Area, Asian Americans may be one of the last demographics that still loves going to the mall. That shouldn’t come as a surprise. After all, they know how to do malls overseas in Asia, where the air-conditioned mega-complexes and adjoining grocers (and even \u003ca href=\"https://sg.news.yahoo.com/eat-pray-shop-philippines-embraces-mall-worshipping-203010484.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAB4A6PUvwqrEZsafK5zrckx99_8qlCUvh_kgR1GxXOKUk147gpiBiujysUm7v9waCCnOaZDTfYB3TEj-jwICJnETE9yxSPXVegjjiwes-P-mbcaIHJZDFgBpe9d9NXUBEuzKRwzeki7AKVIEOXCvIWy8HSmcEr4FM6tlrB9XBwS6\">churches\u003c/a>!) are designed to be a one-stop shop. So this Asian food renaissance seems to be the key to bringing people back to the mall, entire families in tow.\u003c/p>\n\u003cp>The other day I came across an \u003ca href=\"https://www.instagram.com/reel/C6UECwqRuaf/?igsh=NjZiM2M3MzIxNA%3D%3D\">Instagram video about Serramonte Center\u003c/a> that ran down the Asian Dad fashion you can find there, harking back to the mall’s heyday as \u003cem>the\u003c/em> place to be for Filipinos like me. I was happy to be reminded that Serramonte will always have a place in Bay Area lore. May it be restored once again to its former glory — fountain be damned.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album,\u003c/em> Long Kiss Goodnight\u003cem>, dropped in Sept. 2024\u003c/em>.\u003cem> She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem>in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>rom the 1990s golden age of suburban sprawl, one Bay Area mall remains iconic among \u003ca href=\"https://www.kqed.org/arts/tag/filipino\">Filipino\u003c/a> Americans: Serramonte Center in Daly City, aka “Serra-Manila.” Throwback to ‘94, when Jocelyn Enriquez dominated 106.1 KMEL airwaves with her freestyle track “I’ve Been Thinking About You” — the first Pinay from my generation to make it on the radio — and Serramonte was the place to go back-to-school shopping, ask for someone’s pager number, or hard-launch a budding romance by simply holding hands in public.\u003c/p>\n\u003cp>In a time before cell phones and GPS, if you got lost, you always met up at the fountain in the center of the mall, which was so powerful, it gushed up to the skylight like Old Faithful every half hour. During the busy holiday season, \u003ca href=\"https://www.tiktok.com/@danes_panes/video/7472969415697403182?_r=1&_t=ZP-8wuJkYr1Lqh\">it provided a resting place for tired shoppers and grandparents\u003c/a> looking to entertain the kids with a shiny nickel and a wish or two.\u003c/p>\n\u003cp>But nostalgia couldn’t save Serramonte Center. The reality is that malls all over America have been dying for the past 25 years — pummeled by the Great Recession of 2008, mortally wounded by the rise of e-commerce via Amazon. For many of the Bay Area’s struggling malls, the pandemic was their swan song. At Serramonte, when the big box stores like Macy’s and Montgomery Ward started falling like dominoes, it was only a matter of time before the Spencer’s Gifts and Contempo Casuals followed suit. So, for years now, instead of packs of teens roaming the corridors, the mall has sat mostly empty. Its once-popular restaurants, like \u003ca href=\"https://www.sfgate.com/food/history/article/This-Bay-Area-pizza-chain-rose-to-fame-in-the-16378714.php\">Pizza and Pipes\u003c/a> and Elephant Bar or the nearby Peppermill, fell by the wayside.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>In 2017, the owners even hired consultants to redesign the mall based on feng shui principles, replacing the fountain with Zen-like koi ponds and live turtles on lily pads. None of it made much of a difference.\u003c/p>\n\u003cfigure id=\"attachment_13976955\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED.jpg\" alt='Entrance to a fancy new Korean grocery store. The sign reads, \"Jagalchi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jagalchi’s arrival marks the beginning of a new — and much more Asian — chapter for Serramonte Center. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Serramonte Center is hoping to pivot in the same direction as the small handful of Bay Area malls that \u003ci>are\u003c/i> still thriving: It’s going all in on Asian food. Earlier this spring the mall welcomed \u003ca href=\"https://www.instagram.com/jagalchi_official/?hl=en\">Jagalchi\u003c/a>, a glitzy Korean supermarket named after a famous fish market in Busan, sparking long lines in the spot where JCPenney once stood. And for the first time in a long time, it looked like there was hope for Serramonte to plot a comeback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Malls all over the Bay Area – and \u003ca href=\"https://www.nbcnews.com/news/asian-america/asian-malls-us-are-thriving-post-pandemic-bucking-retail-trend-rcna96276\">down in Southern California too\u003c/a> — have followed this same playbook. Stonestown Galleria on the west side of SF was the first place where I noticed it. While the retail apocalypse decimated other malls in the greater San Francisco region, from San Bruno’s ghost town Tanforan Mall to the COVID-crippled San Francisco Centre on Market Street, Stonestown has seen \u003ca href=\"https://www.sfchronicle.com/opinion/article/sf-stonestown-asian-americans-18507747.php\">a resurgence\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976966\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED.jpg\" alt=\"Shopping carts bunched up at the entrance to a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-49-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shopping carts at the entrance to Jagalchi. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How did it do it? For starters, when the once-beloved Olive Garden and Chevys moved out, Stonestown didn’t replace them with other similarly generic chain restaurants. Instead, it began to welcome unique Asian specialty shops that served Japanese soufflé pancakes, fresh-made udon and Taiwanese fruit teas. It even added a revolving sushi bar, complete with robot servers, to warp you to Tokyo without the need for a passport. Not only did these new restaurants provide a draw, but the long lines and limited hours at places like Matcha Cafe Maiko gave an air of exclusivity that captured shoppers’ attention.\u003c/p>\n\u003cp>With Asian Americans composing a third of San Francisco’s population, and thanks to Stonestown’s prime location between the Sunset District and SF State, the pivot worked. And we’ve seen other malls follow the same formula: These days, San Jose’s Westfield Valley Fair — probably the most successful mall in the Bay Area — consists almost entirely of restaurants and retail shops geared toward Asian Americans.\u003c/p>\n\u003cfigure id=\"attachment_13976960\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED.jpg\" alt=\"Shoppers inside an upscale Asian bakery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-26-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Customers shop in Jagalchi’s bakery section. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976964\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED.jpg\" alt=\"Grocery store shelves full of different varieties of instant ramen.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-43-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Many different varieties of ramen. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was growing up, Daly City was mainly populated by middle-class Filipino families, who I can proudly say are part of a foodie-obsessed culture. Our geographical proximity to other Asian countries means we can eat Korean BBQ, Singaporean noodles and Vietnamese pho, and wash it down with Thai iced tea — all in the course of a day. Our craving for food is international, and there is no line too long or reservation system too complicated for us to not eventually dominate. So I’m betting that Serramonte Center leaning into its Filipino customers’ insatiable appetite will be the thing that finally makes us get off our couches to pay this old-school, once-forgotten mall another visit.\u003c/p>\n\u003cp>In March, I was invited to Jagalchi’s press preview and got to peruse the aisles sans shoppers, noting what might attract folks from all parts of the Peninsula to its mall location. Though there is no H-Mart-style food court, the supermarket does have a Michelin-pedigreed restaurant onsite and a deli section that offers plenty of samples to try. Each area of the supermarket was spacious, with entire sections dedicated to specialty products that would be relegated to the one “ethnic” aisle at your local Safeway. It wasn’t like Pacific Super on Alemany (RIP), with its cramped aisles and pervasive fishy smell — that was actually my comfort zone.\u003c/p>\n\u003cfigure id=\"attachment_13976957\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED.jpg\" alt=\"A shopper reaches for a package of Kewpie mayonnaise on the grocery store shelf.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author reaches for a package of Kewpie mayonnaise. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976963\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED.jpg\" alt=\"Packaged grilled eel lunchbox from an Asian grocery store.\" width=\"2000\" height=\"1265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-38-KQED-1920x1214.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Grilled eel dupbap, one of the many prepared meals sold at Jagalchi’s deli section. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stuffed my face with free kimbap and bulgogi samples like only an SF public school kid could. Meanwhile, the special press dinner at the sit-down restaurant, POGU, left much to be desired (it was all cold!). So I planned on coming back when Jagalchi was actually open to see how the rest of the mall fared in comparison.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>A couple weekends ago, I pulled up to Serramonte’s food court parking lot and slowly made my way toward the other side of the mall, where Jagalchi was. What I noticed were more and more Asian food businesses I hadn’t seen before. First, I grabbed a still-warm madeleine muffin from Uncle Tetsu, which specializes in Japanese cheesecakes. To its right, a sign advertised the Izumi revolving sushi bar, coming soon. And as I reached the once-famous fountain, I saw it had been replaced by a mochi donut stand, what was left of the fountain now reduced to a mere trickle. The mall is now also home to the Taiwanese bakery chain 85C, a Korean hot dog kiosk and a stand selling trendy Dubai chocolate strawberry cups. And in the mall’s southern wing, where Jagalchi is housed, I was greeted by a huge billboard for the much-heralded Koi Palace dim sum restaurant, which is moving its flagship from its Gellert Boulevard location to the mall next year, nearly doubling its seating capacity.\u003c/p>\n\u003cp>In short, Serramonte’s Asian pivot is already well underway.\u003c/p>\n\u003cp>Even on a regular weekend, Jagalchi was still bustling in comparison to the rest of Serramonte, and for now, foot traffic doesn’t seem to have increased much. Only time will tell if new businesses like the dim sum palace and the revolving sushi restaurant will draw customers to the rest of the mall, the way Stonestown’s specialty food court has.\u003c/p>\n\u003cfigure id=\"attachment_13976959\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED.jpg\" alt=\"A woman sits in a mall foot court holding a madeleine cake.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/20250531_FRISCOFOODIESASIANFOOD_GC-17-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author tries a madeleine from Uncle Tetsu, a Japanese bakery specializing in cheesecake. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing I did miss was the makeshift Sari Sari store that once stood where the mochi donut spot is now — a quaint Filipino snack stand in the center of the mall. With all the new Asian businesses moving in, none of them seem to cater specifically to the Filipino community. Moving forward, it would be nice to see some Fil-Am restaurants or dessert shops geared toward those day-one supporters.\u003c/p>\n\u003cp>Nostalgia aside, it’s clear that at least in the Bay Area, Asian Americans may be one of the last demographics that still loves going to the mall. That shouldn’t come as a surprise. After all, they know how to do malls overseas in Asia, where the air-conditioned mega-complexes and adjoining grocers (and even \u003ca href=\"https://sg.news.yahoo.com/eat-pray-shop-philippines-embraces-mall-worshipping-203010484.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAB4A6PUvwqrEZsafK5zrckx99_8qlCUvh_kgR1GxXOKUk147gpiBiujysUm7v9waCCnOaZDTfYB3TEj-jwICJnETE9yxSPXVegjjiwes-P-mbcaIHJZDFgBpe9d9NXUBEuzKRwzeki7AKVIEOXCvIWy8HSmcEr4FM6tlrB9XBwS6\">churches\u003c/a>!) are designed to be a one-stop shop. So this Asian food renaissance seems to be the key to bringing people back to the mall, entire families in tow.\u003c/p>\n\u003cp>The other day I came across an \u003ca href=\"https://www.instagram.com/reel/C6UECwqRuaf/?igsh=NjZiM2M3MzIxNA%3D%3D\">Instagram video about Serramonte Center\u003c/a> that ran down the Asian Dad fashion you can find there, harking back to the mall’s heyday as \u003cem>the\u003c/em> place to be for Filipinos like me. I was happy to be reminded that Serramonte will always have a place in Bay Area lore. May it be restored once again to its former glory — fountain be damned.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album,\u003c/em> Long Kiss Goodnight\u003cem>, dropped in Sept. 2024\u003c/em>.\u003cem> She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem>in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-areas-cutest-food-festival-is-throwing-a-lumpia-party",
"title": "The Bay Area’s Cutest Food Festival Is Throwing a Lumpia Party",
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"content": "\u003cp>Samantha Larot’s idea for the \u003ca href=\"https://www.instagram.com/harajukumarketplace/?hl=en%5C\">Harajuku Foodie Fest\u003c/a> was a simple one: By the summer of 2023, she’d been throwing successful food and craft pop-ups for much of the pandemic, starting with a handful of vendors outside her \u003ca href=\"https://aquarianplants.com/\">plant shop in Benicia\u003c/a> and eventually moving to the nearby City Park when she outgrew that space. She’d also been a lifelong lover of \u003ca href=\"https://www.kqed.org/arts/tag/anime\">anime\u003c/a>, Japanese art and “kawaii” culture — everything cute and pastel pink.\u003c/p>\n\u003cp>Why not combine the two?\u003c/p>\n\u003cp>So was born the first Harajuku Marketplace, in August of 2023, and it drew such a huge, enthusiastic crowd — more than 13,000 attendees from all over Northern California — that Larot knew she had to do it again. (“It was meant to be a one-off,” she says.) Now, Larot hosts the self-described “cutest foodie marketplace” in the Bay two to three times a month, both in Benicia and beyond, catering to the (very large) subset of Bay Area food lovers who also dabble in cosplay and Hello Kitty merch.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13935285,arts_13932574']\u003c/span>“They’re nostalgic characters for our [generation],” Larot says. “A lot of our parents who grew up in the ’90s bring their kids, so it’s fun for them too.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/lumpia-fest-tickets-1013205513967\">latest iteration of the festival\u003c/a>, which will be held at Daly City’s Cow Palace on Saturday, Jan. 18, will have an additional theme: It will double as a \u003ca href=\"https://www.kqed.org/arts/tag/lumpia\">lumpia\u003c/a> party. As Larot notes, one of the main differences between the Harajuku festival and other Bay Area manga or anime events is its emphasis on local street food vendors — 30 in all for Saturday’s event. It’s at least as much a food festival as it is an anime marketplace. As for the lumpia theme, Larot explains, “I’m Filipino. And I wanted to start including some of my culture.”\u003c/p>\n\u003cfigure id=\"attachment_13970239\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite.jpg\" alt=\"Left: a food vendor shows off a box of lumpia. Right: a festival attendee dressed as a character from 'One Piece' holds a tray of skewered meats.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: A vendor at a past edition of Harajuku Lumpia Fest. Right: A festival attendee dressed as Monkey D. Luffy from ‘One Piece.’ \u003ccite>(Courtesy of Harajuku Marketplace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Harajuku Lumpia Fest, that means a whole host of Filipino food vendors, running the gamut from \u003ca href=\"https://www.instagram.com/lasangpinoy_tusoktusok/\">Lasang Pinoy\u003c/a>, a traditional street food vendor hawking meat skewers and classic lumpia Shanghai, to \u003ca href=\"https://www.instagram.com/lumpiabucket/\">Lumpia Bucket\u003c/a>, which is known for selling massive buckets of lumpia either layered with chicharon or overloaded, Jack in the Box–style, with \u003ca href=\"https://www.instagram.com/p/C-wfIqvRwnL/\">lettuce, sour cream and cheese\u003c/a>. Plenty of non-Filipino vendors, including longtime Harajuku favorites like Vallejo’s \u003ca href=\"https://www.instagram.com/sushiobsessionvallejo/?hl=en\">Sushi Obsession\u003c/a> (known for its “sushi nachos”), will also be in attendance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And since this \u003ci>is\u003c/i>, at the end of the day, an event focused on cute merch, the first 500 attendees will receive a free lumpia-themed tote bag, and the first 150 will receive a Lumpia Fest T-shirt.\u003c/p>\n\u003cp>On the art side of things, Larot says the Harajuku events are also much more locally focused than most anime conventions. “Some vendors will have \u003ci>Pokémon\u003c/i>, \u003ci>Sailor Moon\u003c/i> and Studio Ghibli,” she says. “But we also have local artists creating original artwork that you’re not going to find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13970240\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-scaled.jpg\" alt=\"Two festival attendees dressed like anime characters.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees are encouraged to come decked out in their most ‘kawaii’ outfits. \u003ccite>(Courtesy of Harajuku Marketplace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Jan. 18 festival is actually a makeup rain date after the original event was washed out by the spate of wet weather in mid-December (though the Cow Palace is an indoor space, many of the food vendors set up outside). Given the catastrophic wildfires that have swept through Los Angeles in the interim, the festival is also offering tickets that include a “The Bay Loves L.A.” fundraiser tote bag, with proceeds going toward fire relief.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Harajuku Lumpia Fest takes place on Saturday, Jan. 18, 10 a.m.–5 p.m., at Cow Palace (2600 Geneva Ave.) in Daly City. \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/lumpia-fest-tickets-1013205513967\">\u003ci>Tickets\u003c/i>\u003c/a>\u003ci> start at $5 with online early registration.\u003c/i>\u003c/p>\n\n",
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"title": "The Bay Area’s Cutest Food Festival Is Throwing a Lumpia Party | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Samantha Larot’s idea for the \u003ca href=\"https://www.instagram.com/harajukumarketplace/?hl=en%5C\">Harajuku Foodie Fest\u003c/a> was a simple one: By the summer of 2023, she’d been throwing successful food and craft pop-ups for much of the pandemic, starting with a handful of vendors outside her \u003ca href=\"https://aquarianplants.com/\">plant shop in Benicia\u003c/a> and eventually moving to the nearby City Park when she outgrew that space. She’d also been a lifelong lover of \u003ca href=\"https://www.kqed.org/arts/tag/anime\">anime\u003c/a>, Japanese art and “kawaii” culture — everything cute and pastel pink.\u003c/p>\n\u003cp>Why not combine the two?\u003c/p>\n\u003cp>So was born the first Harajuku Marketplace, in August of 2023, and it drew such a huge, enthusiastic crowd — more than 13,000 attendees from all over Northern California — that Larot knew she had to do it again. (“It was meant to be a one-off,” she says.) Now, Larot hosts the self-described “cutest foodie marketplace” in the Bay two to three times a month, both in Benicia and beyond, catering to the (very large) subset of Bay Area food lovers who also dabble in cosplay and Hello Kitty merch.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>“They’re nostalgic characters for our [generation],” Larot says. “A lot of our parents who grew up in the ’90s bring their kids, so it’s fun for them too.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/lumpia-fest-tickets-1013205513967\">latest iteration of the festival\u003c/a>, which will be held at Daly City’s Cow Palace on Saturday, Jan. 18, will have an additional theme: It will double as a \u003ca href=\"https://www.kqed.org/arts/tag/lumpia\">lumpia\u003c/a> party. As Larot notes, one of the main differences between the Harajuku festival and other Bay Area manga or anime events is its emphasis on local street food vendors — 30 in all for Saturday’s event. It’s at least as much a food festival as it is an anime marketplace. As for the lumpia theme, Larot explains, “I’m Filipino. And I wanted to start including some of my culture.”\u003c/p>\n\u003cfigure id=\"attachment_13970239\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite.jpg\" alt=\"Left: a food vendor shows off a box of lumpia. Right: a festival attendee dressed as a character from 'One Piece' holds a tray of skewered meats.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-composite-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: A vendor at a past edition of Harajuku Lumpia Fest. Right: A festival attendee dressed as Monkey D. Luffy from ‘One Piece.’ \u003ccite>(Courtesy of Harajuku Marketplace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Harajuku Lumpia Fest, that means a whole host of Filipino food vendors, running the gamut from \u003ca href=\"https://www.instagram.com/lasangpinoy_tusoktusok/\">Lasang Pinoy\u003c/a>, a traditional street food vendor hawking meat skewers and classic lumpia Shanghai, to \u003ca href=\"https://www.instagram.com/lumpiabucket/\">Lumpia Bucket\u003c/a>, which is known for selling massive buckets of lumpia either layered with chicharon or overloaded, Jack in the Box–style, with \u003ca href=\"https://www.instagram.com/p/C-wfIqvRwnL/\">lettuce, sour cream and cheese\u003c/a>. Plenty of non-Filipino vendors, including longtime Harajuku favorites like Vallejo’s \u003ca href=\"https://www.instagram.com/sushiobsessionvallejo/?hl=en\">Sushi Obsession\u003c/a> (known for its “sushi nachos”), will also be in attendance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And since this \u003ci>is\u003c/i>, at the end of the day, an event focused on cute merch, the first 500 attendees will receive a free lumpia-themed tote bag, and the first 150 will receive a Lumpia Fest T-shirt.\u003c/p>\n\u003cp>On the art side of things, Larot says the Harajuku events are also much more locally focused than most anime conventions. “Some vendors will have \u003ci>Pokémon\u003c/i>, \u003ci>Sailor Moon\u003c/i> and Studio Ghibli,” she says. “But we also have local artists creating original artwork that you’re not going to find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13970240\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-scaled.jpg\" alt=\"Two festival attendees dressed like anime characters.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/harajuku-cosplay-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees are encouraged to come decked out in their most ‘kawaii’ outfits. \u003ccite>(Courtesy of Harajuku Marketplace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Jan. 18 festival is actually a makeup rain date after the original event was washed out by the spate of wet weather in mid-December (though the Cow Palace is an indoor space, many of the food vendors set up outside). Given the catastrophic wildfires that have swept through Los Angeles in the interim, the festival is also offering tickets that include a “The Bay Loves L.A.” fundraiser tote bag, with proceeds going toward fire relief.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Harajuku Lumpia Fest takes place on Saturday, Jan. 18, 10 a.m.–5 p.m., at Cow Palace (2600 Geneva Ave.) in Daly City. \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/lumpia-fest-tickets-1013205513967\">\u003ci>Tickets\u003c/i>\u003c/a>\u003ci> start at $5 with online early registration.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A South San Francisco Rapper Turned His Sneaker Collection Into an Album",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LLJdIK6PAbM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuSyl115XII\u003c/p>\n\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” [aside postid='arts_13961014']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\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/LLJdIK6PAbM'\n title='//www.youtube.com/embed/LLJdIK6PAbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\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/XuSyl115XII'\n title='//www.youtube.com/embed/XuSyl115XII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven | KQED",
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"content": "\u003cfigure id=\"attachment_13958045\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg\" alt=\"Man devouring a steak while sitting at the counter at a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Original Joe’s Westlake is one of the few places where you can get both good steak *and* red sauce Italian. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I never ate the old Joe’s of Westlake, which opened in 1956. As far as I can gather, the Italian chop house stayed perfectly frozen in time for nearly six decades — serving the same char-broiled steaks and heaping plates of pasta to multiple generations of Daly City families. Eventually, the restaurant was sold to the owners of the North Beach Original Joe’s, who \u003ca href=\"https://www.instagram.com/arcanumarchitecture/p/CxOGBirRWCR/?img_index=1\">lovingly renovated\u003c/a> the place and reopened it \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Joe-s-of-Westlake-returns-in-over-the-top-6838178.php\">to much fanfare\u003c/a> in 2016.\u003c/p>\n\u003cp>But even post-renovation, Original Joe’s Westlake still feels like a bit of a time warp. The handsome, low-slung building, with its neon signage and vaguely space-age, curvilinear architectural design, looks straight out of the ’60s, as do the waiters in tuxedos offering to grind fresh black pepper on your linguine. The whole dining room is full of quaint mid-century details: starburst chandeliers and shiny leather booths.\u003c/p>\n\u003cp>Nor has the restaurant’s popularity diminished. Now, as always, Westlake Joe’s at peak dinner hours is one of the hardest reservations to land on the Peninsula. What I like to do, then, is stroll in at around 10 p.m. on a Friday night, an hour before closing, when it’s usually possible to snag one of the swivel seats at the counter without having to wait. (Prior to the pandemic, the restaurant used to stay open until midnight, but we’ll take what we can get.)\u003c/p>\n\u003cp>As grand as the cushy, classic mid-century green leather booths are, the counter spots are the best seats in the house, with their close-up view of the finely orchestrated chaos of the open kitchen: six or seven line cooks standing shoulder to shoulder, cranking out dish after dish with no wasted motion. One of them, a thickly bearded chef in a black headband, handled the charcoal broiler where most of the meat cooks — the heart of the whole operation — all on his own like a magician, tending to the hot coals and nimbly flipping the seven or eight steaks that he had going at once.\u003c/p>\n\u003cfigure id=\"attachment_13958046\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg\" alt=\"Illustration: Red facade of Original Joe's Westlake lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, the Westlake location of Original Joe’s is open until 11 p.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Original Joe’s is your quintessential birthday/anniversary/Father’s Day kind of restaurant, and when I’ve come for big celebratory dinners, I’ve always gotten the 24-ounce bone-in porterhouse: a richly marbled, special occasion-worthy steak. But for a casual, slip-in-for-a-quick-meal-at-the-bar kind of night, the $32 Steak Ala Bruno (one of the old Joe’s signatures) is more my speed. It’s a 10-ounce flat iron steak marinated in garlic, olive oil and rosemary, then char-broiled to a phenomenally tender, juicy medium-rare. It’s fantastic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of my biggest complaints about the Bay Area dining scene are 1) how few proper steakhouses there are, and 2) how difficult it is to find good red-sauce Italian, which constituted one of the four major food groups of my East Coast upbringing. The beauty of Original Joe’s is that those are precisely the two areas where it excels. You don’t even have to convince your dining partner to go halfsies to have them both in one meal; you just need to opt for the ravioli as your chosen side. Steak \u003ci>and \u003c/i>plump, meat sauce–laden ravioli. Unspeakable luxury.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13957599,arts_13956683,arts_13951914']\u003c/span>\u003c/span>There are, of course also pasta entrees, served on comically oversized plates: rich, oozy bricks of lasagna and a child’s Platonic ideal of spaghetti and meatballs (in large enough a portion to feed five children). There’s an unorthodox version of shrimp scampi linguine that comes tossed in a lemony garlic cream sauce.\u003c/p>\n\u003cp>Even when you’re seated at the bar, Original Joe’s offers the kind of impeccable service that feels both understated and a little bit old-fashioned. To start the meal, we’d ordered a Louie salad to share, and without saying anything, our kindly server had the kitchen split it into two bowls, each one piled high with tiny pink bay shrimp and slices of avocado and hard-boiled egg — the kind of small gesture that made us feel well taken care of.\u003c/p>\n\u003cp>Looking around a happily buzzing dining room, still more than half full well past 10 o’clock, we saw we clearly weren’t the only ones. Maybe my favorite thing about Original Joe’s Westlake is that it’s that rare “fancy” restaurant — along with \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> and a handful of others — that feels both timeless and oddly democratic. It’s not an inexpensive restaurant, and there’s an Old World kind of formality to the servers in their black vests and starched white shirts. But you’ll find more diversity here than you will at just about any of the trendy hotspots a couple of miles north in San Francisco — diners of all ages (with the over-80 crowd especially well represented). All ethnicities. Folks in T-shirts and sweatpants and folks in full-on power suits.\u003c/p>\n\u003cp>Everyone seemed to be celebrating something. And everyone looked like they were having a good time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.originaljoes.com/westlake\">\u003ci>Original Joe’s Westlake\u003c/i>\u003c/a>\u003ci> is open until 10 p.m. Sunday through Thursday and until 11 p.m. on Fridays and Saturdays. The restaurant is located at 11 Glenwood Ave. in Daly City.\u003c/i>\u003c/p>\n\n",
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"excerpt": "One of the best ways to experience this Daly City classic? Walk up to the counter late at night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958045\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg\" alt=\"Man devouring a steak while sitting at the counter at a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Original Joe’s Westlake is one of the few places where you can get both good steak *and* red sauce Italian. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I never ate the old Joe’s of Westlake, which opened in 1956. As far as I can gather, the Italian chop house stayed perfectly frozen in time for nearly six decades — serving the same char-broiled steaks and heaping plates of pasta to multiple generations of Daly City families. Eventually, the restaurant was sold to the owners of the North Beach Original Joe’s, who \u003ca href=\"https://www.instagram.com/arcanumarchitecture/p/CxOGBirRWCR/?img_index=1\">lovingly renovated\u003c/a> the place and reopened it \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Joe-s-of-Westlake-returns-in-over-the-top-6838178.php\">to much fanfare\u003c/a> in 2016.\u003c/p>\n\u003cp>But even post-renovation, Original Joe’s Westlake still feels like a bit of a time warp. The handsome, low-slung building, with its neon signage and vaguely space-age, curvilinear architectural design, looks straight out of the ’60s, as do the waiters in tuxedos offering to grind fresh black pepper on your linguine. The whole dining room is full of quaint mid-century details: starburst chandeliers and shiny leather booths.\u003c/p>\n\u003cp>Nor has the restaurant’s popularity diminished. Now, as always, Westlake Joe’s at peak dinner hours is one of the hardest reservations to land on the Peninsula. What I like to do, then, is stroll in at around 10 p.m. on a Friday night, an hour before closing, when it’s usually possible to snag one of the swivel seats at the counter without having to wait. (Prior to the pandemic, the restaurant used to stay open until midnight, but we’ll take what we can get.)\u003c/p>\n\u003cp>As grand as the cushy, classic mid-century green leather booths are, the counter spots are the best seats in the house, with their close-up view of the finely orchestrated chaos of the open kitchen: six or seven line cooks standing shoulder to shoulder, cranking out dish after dish with no wasted motion. One of them, a thickly bearded chef in a black headband, handled the charcoal broiler where most of the meat cooks — the heart of the whole operation — all on his own like a magician, tending to the hot coals and nimbly flipping the seven or eight steaks that he had going at once.\u003c/p>\n\u003cfigure id=\"attachment_13958046\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg\" alt=\"Illustration: Red facade of Original Joe's Westlake lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, the Westlake location of Original Joe’s is open until 11 p.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Original Joe’s is your quintessential birthday/anniversary/Father’s Day kind of restaurant, and when I’ve come for big celebratory dinners, I’ve always gotten the 24-ounce bone-in porterhouse: a richly marbled, special occasion-worthy steak. But for a casual, slip-in-for-a-quick-meal-at-the-bar kind of night, the $32 Steak Ala Bruno (one of the old Joe’s signatures) is more my speed. It’s a 10-ounce flat iron steak marinated in garlic, olive oil and rosemary, then char-broiled to a phenomenally tender, juicy medium-rare. It’s fantastic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of my biggest complaints about the Bay Area dining scene are 1) how few proper steakhouses there are, and 2) how difficult it is to find good red-sauce Italian, which constituted one of the four major food groups of my East Coast upbringing. The beauty of Original Joe’s is that those are precisely the two areas where it excels. You don’t even have to convince your dining partner to go halfsies to have them both in one meal; you just need to opt for the ravioli as your chosen side. Steak \u003ci>and \u003c/i>plump, meat sauce–laden ravioli. Unspeakable luxury.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>There are, of course also pasta entrees, served on comically oversized plates: rich, oozy bricks of lasagna and a child’s Platonic ideal of spaghetti and meatballs (in large enough a portion to feed five children). There’s an unorthodox version of shrimp scampi linguine that comes tossed in a lemony garlic cream sauce.\u003c/p>\n\u003cp>Even when you’re seated at the bar, Original Joe’s offers the kind of impeccable service that feels both understated and a little bit old-fashioned. To start the meal, we’d ordered a Louie salad to share, and without saying anything, our kindly server had the kitchen split it into two bowls, each one piled high with tiny pink bay shrimp and slices of avocado and hard-boiled egg — the kind of small gesture that made us feel well taken care of.\u003c/p>\n\u003cp>Looking around a happily buzzing dining room, still more than half full well past 10 o’clock, we saw we clearly weren’t the only ones. Maybe my favorite thing about Original Joe’s Westlake is that it’s that rare “fancy” restaurant — along with \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> and a handful of others — that feels both timeless and oddly democratic. It’s not an inexpensive restaurant, and there’s an Old World kind of formality to the servers in their black vests and starched white shirts. But you’ll find more diversity here than you will at just about any of the trendy hotspots a couple of miles north in San Francisco — diners of all ages (with the over-80 crowd especially well represented). All ethnicities. Folks in T-shirts and sweatpants and folks in full-on power suits.\u003c/p>\n\u003cp>Everyone seemed to be celebrating something. And everyone looked like they were having a good time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.originaljoes.com/westlake\">\u003ci>Original Joe’s Westlake\u003c/i>\u003c/a>\u003ci> is open until 10 p.m. Sunday through Thursday and until 11 p.m. on Fridays and Saturdays. The restaurant is located at 11 Glenwood Ave. in Daly City.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "turntablism-invisibl-skratch-piklz-legacy-impact",
"title": "Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz",
"publishDate": 1707929631,
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"headTitle": "Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED",
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"content": "\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\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 story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ",
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"title": "Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\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 story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map",
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"headTitle": "How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map | KQED",
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"content": "\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 story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>[pullquote size='large' align='center' citation='DJ Apollo']I got the bass kick and he grabbed the snare and we just started making a beat like, boom, cha, boom boom boom cha, boom boom, you know? And then we’re just like, ‘Oh, snap, what did we just do?” [/pullquote] \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\u003c/p>\n\u003cp>[aside postID='arts_13937489']Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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 story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
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"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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