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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She explains that many female musicians of her generation had no choice but to focus on family responsibilities. Meanwhile, their male peers left their kids in the care of wives or girlfriends and pursued their careers. Not to mention, the music industry has historically pitted women against each other. Suga-T wants to counter that narrative by bringing women together to lift each other up and celebrate each other’s legacies.\u003c/p>\n\u003cp>“We all should be able to shine together. I’m not intimidated by women. I love women,” she says. “And I love all women because we all have different things that we’ve been through and that we can relate to at the end of the day.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Her Museum takes place at 233 Eddy St. in San Francisco. It’s open to the public on May 27, 11am-6pm; workshops on May 28 require an RSVP. \u003ca href=\"https://hermuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hyphy Meets Hot Wings at Sideshow Kitchen",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you order at \u003c/span>\u003ca href=\"https://www.sideshowkitchen.com/\">\u003cspan style=\"font-weight: 400\">Sideshow Kitchen’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> street-facing window in North Oakland, you might hear Larry June’s “Smoothies in 1991” lazily playing in the background. Above the counter, a collection of old-school Mac Dre, Spice 1 and Tupac albums overlook the cash register like a holy trinity of Bay Area saints. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The workers move rhythmically—cranking out burgers, frying fish and tossing fries—while the owner, Mike Beatrice, pours draft beers and takes orders with the collected coolness of someone accustomed to swinging a V8-powered machine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this neighborhood kickback, you can grub on the popular Sideshow Burger, a double beef patty with all the fixings. Or you can mess around and get the 12-piece Hyphy Hot Wings, which come dolloped with their housemade “Hyphy Hot Sauce” of mild peppers, smoky Jamaican jerk seasoning and other spices. Or you can try my personal favorite, the Hella Hyphy Fried Chicken Sandwich—a heavenly stack of fried chicken, jalapeño-infused coleslaw, honey mustard and, of course, more of that saucy Hyphyness, all piled on a soft La Jolla bun. You’ll definitely want a side of the paprika-dusted crinkle-cut garlic fries, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No matter what you decide, the choices at Sideshow are aplenty (yup), so it’s impossible to leave the place feeling empty-stomached (nope).\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Mike Beatrice\"]“I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”[/pullquote]The restaurant’s hyphy-era vibes are unmistakable, and they’re as flavorfully sprinkled with Bay Area culture as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">E-40’s ice cream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> brand—a dessert option that Beatrice hopes to offer soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently celebrating its five-year anniversary—and having just signed a new five-year lease—the spot feels authentic and lively, with an aim to not only serve smackin’ plates, but to represent the local community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg\" alt=\"Man holds up two peace signs while standing in front of his restaurant named Sideshow, with hand painted sign behind him that says hot food\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sideshow Kitchen founder Mike Beatrice has been a North Oakland resident and business owner for the past 15 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over the years, more commercialized shit has popped up around here and Emeryville, and it loses the Bay Area spirit,” says Beatrice, who runs the restaurant with his wife Salma and best friend Jose Luis Leon, who functions as the head chef. “I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sat down with Beatrice to get a sense of what makes his restaurant worth a trip to the North Pole.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>KQED: Tell us about yourself and your history with food. What inspired you to get into the culinary arts? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up with my pops in the restaurant business. I’m originally from the East Coast, and my first experience was working in [my dad’s] restaurant when I would get in trouble at school. I’d get suspended and have to wash dishes and do grunt work, cleaning bathrooms. The chef would bring his son, too, and I saw that that kid got paid, but since I was on punishment, I wasn’t getting paid. So I wanted to get money and started taking it more seriously. After that, I always kept a restaurant job growing up. I’ve also worked night clubs, bartending, fine dining. From 2016 to 2020, I ran \u003ca href=\"https://www.facebook.com/oakalndhomegrown/\">Homegrown Oakland\u003c/a> as a smoothie and salad shop. I decided to close that during the pandemic and focus on Sideshow. Now I’m here everyday.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area? When did you arrive here, and what’s your favorite thing about the Bay’s culinary scene?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved to San Francisco from East Boston when I was younger. Fifteen years ago I settled into this specific neighborhood. I live right down the street and have been here for hella long. At first I felt a little lost in California coming from the East Coast. But as soon as I pulled up in Oakland, I felt like it was home. It felt like what I grew up around—independent people just hustling and grinding. It felt natural to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In terms of food, the Bay has lots of folks who aren’t classically trained chefs, and I appreciate that. That creates a rawness from the heart and soul. The people here are cooking what they grew up with, maybe something their grandmothers would cook. It’s also just so diverse and competitive. There are lots of people making burgers and fried chicken everywhere, so you have to figure out what sets you apart. It’s a hybridization of many things.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CHHb-VjgVxQ/\u003c/p>\n\u003cp>\u003cb>As an Italian American from the East Coast, has anyone ever questioned the name choice behind your restaurant?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep it simple, no. I lived and breathed all the culture I’m portraying. I grew up driving a [Mustang] 5.0 and my brother had a [Camaro] Z-28. We rode motorcycles and dirt bikes. We had a studio growing up and used to rap, and I always listened to Bay music. It’s a natural representation of myself. Even though I moved here from the East Coast as a teen, I still grew up in this lifestyle and would always go to sideshows, drove the cars, was at the events. To me, this is normal life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While we were [building out the restaurant], people were always slapping music outside, and we were thinking of a name at the time, and since there was basically just a sideshow happening right there in front of us, the idea was super organic and natural and on the fly. We rolled with it, and we haven’t stopped. I know it’s a bold name, but ever since we started out, local people pull up on us to see if we check out. Sideshow is a neighborhood spot. We’re preserving the culture, not erasing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What has been a highlight for you during your time at Sideshow Kitchen?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just knowing that we made it through COVID and made it even better than before. We went from nothing happening at all to finding a way to build it back ten times stronger. We built a camaraderie and trust that helped push our business forward. We had a no-quit attitude. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the beginning of year six now. It was an interesting road because we built this place with our bare hands, me and my brother. My brother has a business called Sons of Salvage. We demolitioned this place together and rebuilt it from scratch. The tables, the walls—we made all that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913217\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg\" alt=\"Two music album covers are displayed on a shelf inside the restaurant. One album is of Spice 1, the other is of Mac Dre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop legends, Spice 1 and Mac Dre, overlook the restaurant. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What Bay Area rappers do you listen to who have influenced your culinary craft?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13908052']Shit. Mac Dre, J Stalin, Yukmouth, Fab, Keak da Sneak, those are the pillars. Nowadays, I like Offset Jim [now 22nd Jim], AllBlack, G Pop. G is a local dude, lives right in the neighborhood. I listen to him a lot. Depending on my mood I might be slapping Luniz or Berner. Also Pac, let’s claim that. And The Jacka, RIP. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like the vision and hustle of all those artists. I love watching anyone go from something small to something huge. That’s why I always fuck with Bay Area rap. I grew up in the East, and it’s more industry—more rappers are signed to major record labels. But in the Bay, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">people are independent and selling out the trunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Everyone bites that style now, but it started out here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Larry June. I fuck with Larry June.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13913225 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg\" alt=\"a friend chicken sandwich with crinkle-cut fries and ketchup, served on a metal tray, with a beer on the table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Hyphy Fried Chicken Sandwich with a hazy IPA and a side of fries.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sideshowkitchen.com/\">Sideshow Kitchen\u003c/a> is open Tuesday–Saturday, noon to 6 pm (Thursday through Saturday, they close at 7 pm) at 942 Stanford Ave. in Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you order at \u003c/span>\u003ca href=\"https://www.sideshowkitchen.com/\">\u003cspan style=\"font-weight: 400\">Sideshow Kitchen’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> street-facing window in North Oakland, you might hear Larry June’s “Smoothies in 1991” lazily playing in the background. Above the counter, a collection of old-school Mac Dre, Spice 1 and Tupac albums overlook the cash register like a holy trinity of Bay Area saints. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The workers move rhythmically—cranking out burgers, frying fish and tossing fries—while the owner, Mike Beatrice, pours draft beers and takes orders with the collected coolness of someone accustomed to swinging a V8-powered machine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this neighborhood kickback, you can grub on the popular Sideshow Burger, a double beef patty with all the fixings. Or you can mess around and get the 12-piece Hyphy Hot Wings, which come dolloped with their housemade “Hyphy Hot Sauce” of mild peppers, smoky Jamaican jerk seasoning and other spices. Or you can try my personal favorite, the Hella Hyphy Fried Chicken Sandwich—a heavenly stack of fried chicken, jalapeño-infused coleslaw, honey mustard and, of course, more of that saucy Hyphyness, all piled on a soft La Jolla bun. You’ll definitely want a side of the paprika-dusted crinkle-cut garlic fries, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No matter what you decide, the choices at Sideshow are aplenty (yup), so it’s impossible to leave the place feeling empty-stomached (nope).\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The restaurant’s hyphy-era vibes are unmistakable, and they’re as flavorfully sprinkled with Bay Area culture as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">E-40’s ice cream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> brand—a dessert option that Beatrice hopes to offer soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently celebrating its five-year anniversary—and having just signed a new five-year lease—the spot feels authentic and lively, with an aim to not only serve smackin’ plates, but to represent the local community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg\" alt=\"Man holds up two peace signs while standing in front of his restaurant named Sideshow, with hand painted sign behind him that says hot food\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sideshow Kitchen founder Mike Beatrice has been a North Oakland resident and business owner for the past 15 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over the years, more commercialized shit has popped up around here and Emeryville, and it loses the Bay Area spirit,” says Beatrice, who runs the restaurant with his wife Salma and best friend Jose Luis Leon, who functions as the head chef. “I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sat down with Beatrice to get a sense of what makes his restaurant worth a trip to the North Pole.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>KQED: Tell us about yourself and your history with food. What inspired you to get into the culinary arts? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up with my pops in the restaurant business. I’m originally from the East Coast, and my first experience was working in [my dad’s] restaurant when I would get in trouble at school. I’d get suspended and have to wash dishes and do grunt work, cleaning bathrooms. The chef would bring his son, too, and I saw that that kid got paid, but since I was on punishment, I wasn’t getting paid. So I wanted to get money and started taking it more seriously. After that, I always kept a restaurant job growing up. I’ve also worked night clubs, bartending, fine dining. From 2016 to 2020, I ran \u003ca href=\"https://www.facebook.com/oakalndhomegrown/\">Homegrown Oakland\u003c/a> as a smoothie and salad shop. I decided to close that during the pandemic and focus on Sideshow. Now I’m here everyday.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area? When did you arrive here, and what’s your favorite thing about the Bay’s culinary scene?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved to San Francisco from East Boston when I was younger. Fifteen years ago I settled into this specific neighborhood. I live right down the street and have been here for hella long. At first I felt a little lost in California coming from the East Coast. But as soon as I pulled up in Oakland, I felt like it was home. It felt like what I grew up around—independent people just hustling and grinding. It felt natural to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In terms of food, the Bay has lots of folks who aren’t classically trained chefs, and I appreciate that. That creates a rawness from the heart and soul. The people here are cooking what they grew up with, maybe something their grandmothers would cook. It’s also just so diverse and competitive. There are lots of people making burgers and fried chicken everywhere, so you have to figure out what sets you apart. It’s a hybridization of many things.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>As an Italian American from the East Coast, has anyone ever questioned the name choice behind your restaurant?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep it simple, no. I lived and breathed all the culture I’m portraying. I grew up driving a [Mustang] 5.0 and my brother had a [Camaro] Z-28. We rode motorcycles and dirt bikes. We had a studio growing up and used to rap, and I always listened to Bay music. It’s a natural representation of myself. Even though I moved here from the East Coast as a teen, I still grew up in this lifestyle and would always go to sideshows, drove the cars, was at the events. To me, this is normal life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While we were [building out the restaurant], people were always slapping music outside, and we were thinking of a name at the time, and since there was basically just a sideshow happening right there in front of us, the idea was super organic and natural and on the fly. We rolled with it, and we haven’t stopped. I know it’s a bold name, but ever since we started out, local people pull up on us to see if we check out. Sideshow is a neighborhood spot. We’re preserving the culture, not erasing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What has been a highlight for you during your time at Sideshow Kitchen?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just knowing that we made it through COVID and made it even better than before. We went from nothing happening at all to finding a way to build it back ten times stronger. We built a camaraderie and trust that helped push our business forward. We had a no-quit attitude. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the beginning of year six now. It was an interesting road because we built this place with our bare hands, me and my brother. My brother has a business called Sons of Salvage. We demolitioned this place together and rebuilt it from scratch. The tables, the walls—we made all that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913217\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg\" alt=\"Two music album covers are displayed on a shelf inside the restaurant. One album is of Spice 1, the other is of Mac Dre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop legends, Spice 1 and Mac Dre, overlook the restaurant. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What Bay Area rappers do you listen to who have influenced your culinary craft?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Shit. Mac Dre, J Stalin, Yukmouth, Fab, Keak da Sneak, those are the pillars. Nowadays, I like Offset Jim [now 22nd Jim], AllBlack, G Pop. G is a local dude, lives right in the neighborhood. I listen to him a lot. Depending on my mood I might be slapping Luniz or Berner. Also Pac, let’s claim that. And The Jacka, RIP. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like the vision and hustle of all those artists. I love watching anyone go from something small to something huge. That’s why I always fuck with Bay Area rap. I grew up in the East, and it’s more industry—more rappers are signed to major record labels. But in the Bay, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">people are independent and selling out the trunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Everyone bites that style now, but it started out here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Larry June. I fuck with Larry June.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13913225 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg\" alt=\"a friend chicken sandwich with crinkle-cut fries and ketchup, served on a metal tray, with a beer on the table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Hyphy Fried Chicken Sandwich with a hazy IPA and a side of fries.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
"headTitle": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
"content": "\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>[aside postid='arts_13908472']Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. [aside postid='arts_13909218']\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n",
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"excerpt": "Entertainment can influence behavior or help us process struggle. What does it mean that so few films and TV shows have acknowledged COVID-19?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\n\u003cp>https://twitter.com/J_Ran85/status/1497067106818478090\u003c/p>\n\u003cp>https://twitter.com/KieseLaymon/status/1497222235651719202\u003c/p>\n\u003cp>https://twitter.com/SHARMONJONES/status/1497083798919561224\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/1497059859090579458\u003c/p>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQFlRUCp5r0\u003c/p>\n\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0fyqEYQQW2U\u003c/p>\n\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aOHupZPsWD0\u003c/p>\n\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tuwwd7eb-lA\u003c/p>\n\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\n\u003cp>https://twitter.com/__Eddie313/status/1497071531930832899\u003c/p>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=otCpCn0l4Wo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\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/vQFlRUCp5r0'\n title='//www.youtube.com/embed/vQFlRUCp5r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\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/0fyqEYQQW2U'\n title='//www.youtube.com/embed/0fyqEYQQW2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\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/aOHupZPsWD0'\n title='//www.youtube.com/embed/aOHupZPsWD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\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/tuwwd7eb-lA'\n title='//www.youtube.com/embed/tuwwd7eb-lA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "food-doesnt-slap",
"title": "Food Doesn't Slap",
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"headTitle": "Food Doesn’t Slap | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s 2022. Let’s get this out of the way. Stop saying food slaps.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’ve got enough problems as it is. We don’t need game-goofy folks out there misappropriating slang, leading our youth astray and contributing to the further decay of our society. People using a term deeply rooted in the culture of Bay Area hip-hop in a way that has nothing to do with the Bay Area, nor hip-hop.\u003c/p>\n\u003cp>I invite you to do a simple social media search of the term “\u003ca href=\"https://twitter.com/search?q=food%20slaps&src=typed_query&f=live\" target=\"_blank\" rel=\"noopener noreferrer\">food slaps\u003c/a>.” What you’ll find is that fools are \u003cem>still\u003c/em> saying it, and people are \u003cem>still\u003c/em> trying to correct them, bless their hearts.\u003c/p>\n\u003cp>“Slap” is about the sound of music when it hits your ears, not the flavor of food when it touches your tastebuds. Period.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here we are, collectively surging into year three of the COVID-19 pandemic, with new variants sending people to hospitals across the country in droves. We really don’t have time to address how our jargon is (mis)used.\u003c/p>\n\u003cp>We should be worried that the United States’ current surge in COVID-19 cases is so bad that just outside of the nation’s capital, they’re \u003ca href=\"https://www.fox5dc.com/news/montgomery-county-school-officials-call-on-national-guard-amid-bus-driver-shortage\">calling in the National Guard\u003c/a> to drive school buses. We should be alarmed that this past Tuesday, the Hayward school district went\u003ca href=\"https://abc7news.com/hayward-unified-schools-virtual-unfied-learning-distance/11455635/\"> back to distanced learning for a week\u003c/a>, the \u003ca href=\"https://oaklandside.org/2022/01/06/oakland-teachers-plan-sickout-protest-as-omicron-cases-surge/\">Oakland teachers staged a sick-out\u003c/a> and \u003ca href=\"https://twitter.com/ashleynmcb/status/1479604608368476161?s=20\">OUSD students are petitioning\u003c/a> for more COVID-safe resources and threatening to have their own sick-out.\u003c/p>\n\u003cp>That’s just a couple of the healthcare-related issues. Don’t get me started on \u003ca href=\"https://apnews.com/article/consumer-prices-inflation-c1bfd93ed1719cf0135420f4fd0270f9?utm_campaign=SocialFlow&utm_source=Twitter&utm_medium=AP\">stark increases on the price of goods\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/21/1065722993/communities-are-dealing-with-an-increase-in-homicides-whats-behind-the-rise\">the uptick in crime across the nation\u003c/a> and how police companies are leveraging this data \u003ca href=\"https://www.nbcnews.com/news/nbcblk/cities-vowed-2020-cut-police-funding-budgets-expanded-2021-rcna9864\">to bolster their budgets\u003c/a>.\u003c/p>\n\u003cp>The last thing we need right now is someone getting on Marshawn Lynch’s internet, talking about they “had a sandwich and it was slapping.” Man, what?\u003c/p>\n\u003cp>https://twitter.com/omgadrian/status/1187570425879904256?lang=en\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s so many \u003ci>other\u003c/i> words to describe food. It can be “delicious,” “scrumptious,” “good”– even “dumbass good.” It can be “hittin’” or “bangin’,” “Smackin’ or “Shhhhmackin’.” One of my favorites is when you ask someone if the food is good and they emphatically reply, “It’s candy, bruh!”\u003c/p>\n\u003cp>It can even be “man, this sh*t right here,” or “that’s that sh*t right there.”\u003c/p>\n\u003cp>But food can’t slap. Don’t say it.\u003c/p>\n\u003cp>Before going further into my tirade, I will concede this: I understand the confusion. I’m not exactly sure of the roots of saying “food slaps,” but I know that in the film \u003cem>Friday After Next\u003c/em> (2002), the third installment in the \u003cem>Friday\u003c/em> film trilogy, comedian Don “D.C.” Curry’s character, Uncle Elroy, opens a barbecue restaurant with the tagline, “\u003ca href=\"https://www.youtube.com/watch?v=skKTrYFDYg0\">tastes so good, make you wanna slap your mamma\u003c/a>.”\u003c/p>\n\u003cp>After this claim, his brother in the film, Willie Jones (played by the late John Witherspoon), proceeds to slap the ancestors’ blessings out of their mother. Ah, Hollywood magic.\u003c/p>\n\u003cp>There isn’t a piece of food on this earth good enough to make me even think about slapping my momma. “Slap” doesn’t even come to mind when we’re talking about food.\u003c/p>\n\u003cp>“Slap” is reserved for describing the audio experience of encountering someone with a stupid sound system, sliding down the block in a Box Chevy or a Delta 88 \u003cem>slappin’\u003c/em> Keak Da Sneak’s “T-Shirts Blue Jeans & Nikes,” and the bass line is kicking like a mule in heat.\u003c/p>\n\u003cp>“Slap” is a descriptor that was popularized during the hyphy movement, circa 2004. It was used to illustrate the type of impact on a person’s face when they encounter D-Lo’s “No Hoe” for the first time.\u003c/p>\n\u003cp>The late great producer Traxamillion used the term “Slapp,” with two Ps, just to emphasize the strength with which the song was slappin’.\u003c/p>\n\u003cfigure id=\"attachment_13908143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Traxamillion.SlappAddict-800x600.jpg\" alt=\"A CD with the producer Traxamillion on the cover.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose producer Traxamillion’s 2006 album ‘The Slapp Addict’ slapped so hard, it required two “P”s in the title. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we were goin’ dumb, the term was already floating around the music-sphere, most often in reference to “slapping the bass,” a percussive way of playing the bass guitar with one’s thumb. (Larry Graham and Bootsy Collins are the godfathers of slapping, but you’ve probably heard it on \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=slbco4zHmt8\" target=\"_blank\" rel=\"noopener noreferrer\">Seinfeld\u003c/a>\u003c/em>, or joked about in the movie \u003ca href=\"https://www.youtube.com/watch?v=RUuplQuk9Ck\">\u003cem>I Love You, Man\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>And yes, at the same time, \u003ca href=\"https://www.etymonline.com/word/slap\" target=\"_blank\" rel=\"noopener noreferrer\">the etymology of the word “slap”\u003c/a> reportedly dates to the 15th century, rooted in the literal act of gracing one’s cheek (facial or buttock) with a fierce open-palm.\u003c/p>\n\u003cp>So yes, “slap” has multiple meanings, just like so many other words in the English language. But it doesn’t apply to food. That’s the glory of slang, ever-evolving, and keeping the Queen’s English youthful.\u003c/p>\n\u003cp>https://twitter.com/hellasoosh/status/1100901490535759872\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or instance, if I say “pull up,” that can mean that I’m asking you to hit a set of 10 on the chin-up bar in the doorway, it can mean come over for a friendly gathering, or it can mean bring yo mark-ass over here I’m finna put these hands on you.\u003c/p>\n\u003cp>When someone says “put these hands on you,” it means they plan on fighting, squaring up, throwing hands or catching a fade.\u003c/p>\n\u003cp>This is where it gets tricky.\u003c/p>\n\u003cp>“Fade,” or rather “fading up,” can also be a request that everyone pitch in a couple dollars on something, usually reefer. Not to mention a “fade route” is a path for a wide receiver to run in football. Being “faded” is being intoxicated. “Fading” something is coloring it in a spectrum that goes from dark to light. And, of course, “a fade” is also a haircut.\u003c/p>\n\u003cp>And oh man, if your barber or hairstylist is nice at their job, they’ve “got bars.” But having “bars” can also mean that you know how to drive a car extremely well. Or that you’re an exceptional blunt roller. Mind you, saying that a person “got bars” can also mean they are a very skilled rapper.\u003c/p>\n\u003cp>(You picking up what I’m putting down?)\u003c/p>\n\u003cp>If a person is a skilled rapper, it’s more common for folks to say that they’re “spittin’ gas”/ “gassin a track.” But be careful, because “gas” can also mean high quality reefer (it always comes back to reefer).\u003c/p>\n\u003cp>Additionally, “gassin’” can also mean lying, or “blowing up someone’s head.” Lastly, “having gas” can mean fuel in your car’s gas tank, or indigestion in your tummy’s tank.\u003c/p>\n\u003cp>Context is everything, eh?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13908144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/FoodDoesntSlap.jpg\" alt=\"\" width=\"423\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/FoodDoesntSlap.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/FoodDoesntSlap-160x160.jpg 160w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> could keep going for days about Northern Californian colloquialisms, and how tricky they are. But the mutation of words isn’t specific to this region—lest I remind you of the great “\u003ca href=\"https://hiphopdx.com/news/id.56660/title.ight-well-bite-examining-hip-hop-twitters-latest-obsession-with-the-glizzy#signup\" target=\"_blank\" rel=\"noopener noreferrer\">glizzy\u003c/a>” scandal of summer 2020 that had a solid portion of the Atlantic seaboard up in arms.\u003c/p>\n\u003cp>(The term “Glizzy” reportedly originated in the greater Washington D.C. area, and is a euphemism for hot dog, but it comes from how folks would describe a glock, or the extended clip that protrudes from a handgun. And I’m pretty sure there’s some connection to male anatomy in there too.)\u003c/p>\n\u003cp>Point being: words often have multiple meanings. It’s a fact of life. Even if every other aspect of Bay Area lingo from “bootsie” to “bipper” can be used in multiple ways, “slap” is where we as a community draw the line. I can’t even think of any other words that we collectively believe should have just one meani…..\u003c/p>\n\u003cp>Oh, wait: “Bop.” That’s another one. Because, to some, “bop” is a tasteful catchy song. But, uh, where I’m from, it means that you’re a hoe. And I mean “hoe” as in “a promiscuous person,” not “a garden tool.”\u003c/p>\n\u003cp>Ah, language. A collection of symbols that people have agreed upon, and oftentimes disagree upon. I bet as soon as the first humans started talking, an argument ensued soon after.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13908148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-800x361.jpg\" alt=\"\" width=\"800\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Look, when it boils down to it, I’m all for free speech: Say what you want, just know the consequences of your actions.\u003c/p>\n\u003cp>I do stand \u003ca href=\"https://twitter.com/omgadrian/status/1187570425879904256?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">with E-40\u003c/a>, \u003ca href=\"https://twitter.com/p_lo/status/1311551426817007621?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and many others in this fight against misuse of our innovative idioms.\u003c/p>\n\u003cp>And at the same time, I know words change. Language evolves, just like the world we’re attempting to make sense of through the words we use.\u003c/p>\n\u003cp>While I envision a world where we can come together on one accord, and conquer the problems of our time—the spread of COVID, the fractured education system, economic disparity, the impending collapse of civilization—I imagine that it’ll be hard to do if we’re arguing about the proper use of lexicon.\u003c/p>\n\u003cp>In conclusion, the Raiders and 49ers are in the playoffs, Klay Thompson is back on the basketball court, housing is a human right, no one should be hungry in the wealthiest country in the world, mass incarceration is inhumane, and we don’t say “food slaps.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But we do say “Frisco.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s 2022. Let’s get this out of the way. Stop saying food slaps.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’ve got enough problems as it is. We don’t need game-goofy folks out there misappropriating slang, leading our youth astray and contributing to the further decay of our society. People using a term deeply rooted in the culture of Bay Area hip-hop in a way that has nothing to do with the Bay Area, nor hip-hop.\u003c/p>\n\u003cp>I invite you to do a simple social media search of the term “\u003ca href=\"https://twitter.com/search?q=food%20slaps&src=typed_query&f=live\" target=\"_blank\" rel=\"noopener noreferrer\">food slaps\u003c/a>.” What you’ll find is that fools are \u003cem>still\u003c/em> saying it, and people are \u003cem>still\u003c/em> trying to correct them, bless their hearts.\u003c/p>\n\u003cp>“Slap” is about the sound of music when it hits your ears, not the flavor of food when it touches your tastebuds. Period.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here we are, collectively surging into year three of the COVID-19 pandemic, with new variants sending people to hospitals across the country in droves. We really don’t have time to address how our jargon is (mis)used.\u003c/p>\n\u003cp>We should be worried that the United States’ current surge in COVID-19 cases is so bad that just outside of the nation’s capital, they’re \u003ca href=\"https://www.fox5dc.com/news/montgomery-county-school-officials-call-on-national-guard-amid-bus-driver-shortage\">calling in the National Guard\u003c/a> to drive school buses. We should be alarmed that this past Tuesday, the Hayward school district went\u003ca href=\"https://abc7news.com/hayward-unified-schools-virtual-unfied-learning-distance/11455635/\"> back to distanced learning for a week\u003c/a>, the \u003ca href=\"https://oaklandside.org/2022/01/06/oakland-teachers-plan-sickout-protest-as-omicron-cases-surge/\">Oakland teachers staged a sick-out\u003c/a> and \u003ca href=\"https://twitter.com/ashleynmcb/status/1479604608368476161?s=20\">OUSD students are petitioning\u003c/a> for more COVID-safe resources and threatening to have their own sick-out.\u003c/p>\n\u003cp>That’s just a couple of the healthcare-related issues. Don’t get me started on \u003ca href=\"https://apnews.com/article/consumer-prices-inflation-c1bfd93ed1719cf0135420f4fd0270f9?utm_campaign=SocialFlow&utm_source=Twitter&utm_medium=AP\">stark increases on the price of goods\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/21/1065722993/communities-are-dealing-with-an-increase-in-homicides-whats-behind-the-rise\">the uptick in crime across the nation\u003c/a> and how police companies are leveraging this data \u003ca href=\"https://www.nbcnews.com/news/nbcblk/cities-vowed-2020-cut-police-funding-budgets-expanded-2021-rcna9864\">to bolster their budgets\u003c/a>.\u003c/p>\n\u003cp>The last thing we need right now is someone getting on Marshawn Lynch’s internet, talking about they “had a sandwich and it was slapping.” Man, what?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s so many \u003ci>other\u003c/i> words to describe food. It can be “delicious,” “scrumptious,” “good”– even “dumbass good.” It can be “hittin’” or “bangin’,” “Smackin’ or “Shhhhmackin’.” One of my favorites is when you ask someone if the food is good and they emphatically reply, “It’s candy, bruh!”\u003c/p>\n\u003cp>It can even be “man, this sh*t right here,” or “that’s that sh*t right there.”\u003c/p>\n\u003cp>But food can’t slap. Don’t say it.\u003c/p>\n\u003cp>Before going further into my tirade, I will concede this: I understand the confusion. I’m not exactly sure of the roots of saying “food slaps,” but I know that in the film \u003cem>Friday After Next\u003c/em> (2002), the third installment in the \u003cem>Friday\u003c/em> film trilogy, comedian Don “D.C.” Curry’s character, Uncle Elroy, opens a barbecue restaurant with the tagline, “\u003ca href=\"https://www.youtube.com/watch?v=skKTrYFDYg0\">tastes so good, make you wanna slap your mamma\u003c/a>.”\u003c/p>\n\u003cp>After this claim, his brother in the film, Willie Jones (played by the late John Witherspoon), proceeds to slap the ancestors’ blessings out of their mother. Ah, Hollywood magic.\u003c/p>\n\u003cp>There isn’t a piece of food on this earth good enough to make me even think about slapping my momma. “Slap” doesn’t even come to mind when we’re talking about food.\u003c/p>\n\u003cp>“Slap” is reserved for describing the audio experience of encountering someone with a stupid sound system, sliding down the block in a Box Chevy or a Delta 88 \u003cem>slappin’\u003c/em> Keak Da Sneak’s “T-Shirts Blue Jeans & Nikes,” and the bass line is kicking like a mule in heat.\u003c/p>\n\u003cp>“Slap” is a descriptor that was popularized during the hyphy movement, circa 2004. It was used to illustrate the type of impact on a person’s face when they encounter D-Lo’s “No Hoe” for the first time.\u003c/p>\n\u003cp>The late great producer Traxamillion used the term “Slapp,” with two Ps, just to emphasize the strength with which the song was slappin’.\u003c/p>\n\u003cfigure id=\"attachment_13908143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Traxamillion.SlappAddict-800x600.jpg\" alt=\"A CD with the producer Traxamillion on the cover.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Traxamillion.SlappAddict.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose producer Traxamillion’s 2006 album ‘The Slapp Addict’ slapped so hard, it required two “P”s in the title. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before we were goin’ dumb, the term was already floating around the music-sphere, most often in reference to “slapping the bass,” a percussive way of playing the bass guitar with one’s thumb. (Larry Graham and Bootsy Collins are the godfathers of slapping, but you’ve probably heard it on \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=slbco4zHmt8\" target=\"_blank\" rel=\"noopener noreferrer\">Seinfeld\u003c/a>\u003c/em>, or joked about in the movie \u003ca href=\"https://www.youtube.com/watch?v=RUuplQuk9Ck\">\u003cem>I Love You, Man\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>And yes, at the same time, \u003ca href=\"https://www.etymonline.com/word/slap\" target=\"_blank\" rel=\"noopener noreferrer\">the etymology of the word “slap”\u003c/a> reportedly dates to the 15th century, rooted in the literal act of gracing one’s cheek (facial or buttock) with a fierce open-palm.\u003c/p>\n\u003cp>So yes, “slap” has multiple meanings, just like so many other words in the English language. But it doesn’t apply to food. That’s the glory of slang, ever-evolving, and keeping the Queen’s English youthful.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or instance, if I say “pull up,” that can mean that I’m asking you to hit a set of 10 on the chin-up bar in the doorway, it can mean come over for a friendly gathering, or it can mean bring yo mark-ass over here I’m finna put these hands on you.\u003c/p>\n\u003cp>When someone says “put these hands on you,” it means they plan on fighting, squaring up, throwing hands or catching a fade.\u003c/p>\n\u003cp>This is where it gets tricky.\u003c/p>\n\u003cp>“Fade,” or rather “fading up,” can also be a request that everyone pitch in a couple dollars on something, usually reefer. Not to mention a “fade route” is a path for a wide receiver to run in football. Being “faded” is being intoxicated. “Fading” something is coloring it in a spectrum that goes from dark to light. And, of course, “a fade” is also a haircut.\u003c/p>\n\u003cp>And oh man, if your barber or hairstylist is nice at their job, they’ve “got bars.” But having “bars” can also mean that you know how to drive a car extremely well. Or that you’re an exceptional blunt roller. Mind you, saying that a person “got bars” can also mean they are a very skilled rapper.\u003c/p>\n\u003cp>(You picking up what I’m putting down?)\u003c/p>\n\u003cp>If a person is a skilled rapper, it’s more common for folks to say that they’re “spittin’ gas”/ “gassin a track.” But be careful, because “gas” can also mean high quality reefer (it always comes back to reefer).\u003c/p>\n\u003cp>Additionally, “gassin’” can also mean lying, or “blowing up someone’s head.” Lastly, “having gas” can mean fuel in your car’s gas tank, or indigestion in your tummy’s tank.\u003c/p>\n\u003cp>Context is everything, eh?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13908144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/FoodDoesntSlap.jpg\" alt=\"\" width=\"423\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/FoodDoesntSlap.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/FoodDoesntSlap-160x160.jpg 160w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> could keep going for days about Northern Californian colloquialisms, and how tricky they are. But the mutation of words isn’t specific to this region—lest I remind you of the great “\u003ca href=\"https://hiphopdx.com/news/id.56660/title.ight-well-bite-examining-hip-hop-twitters-latest-obsession-with-the-glizzy#signup\" target=\"_blank\" rel=\"noopener noreferrer\">glizzy\u003c/a>” scandal of summer 2020 that had a solid portion of the Atlantic seaboard up in arms.\u003c/p>\n\u003cp>(The term “Glizzy” reportedly originated in the greater Washington D.C. area, and is a euphemism for hot dog, but it comes from how folks would describe a glock, or the extended clip that protrudes from a handgun. And I’m pretty sure there’s some connection to male anatomy in there too.)\u003c/p>\n\u003cp>Point being: words often have multiple meanings. It’s a fact of life. Even if every other aspect of Bay Area lingo from “bootsie” to “bipper” can be used in multiple ways, “slap” is where we as a community draw the line. I can’t even think of any other words that we collectively believe should have just one meani…..\u003c/p>\n\u003cp>Oh, wait: “Bop.” That’s another one. Because, to some, “bop” is a tasteful catchy song. But, uh, where I’m from, it means that you’re a hoe. And I mean “hoe” as in “a promiscuous person,” not “a garden tool.”\u003c/p>\n\u003cp>Ah, language. A collection of symbols that people have agreed upon, and oftentimes disagree upon. I bet as soon as the first humans started talking, an argument ensued soon after.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13908148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-800x361.jpg\" alt=\"\" width=\"800\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Twitter.Food_.Slaps_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Look, when it boils down to it, I’m all for free speech: Say what you want, just know the consequences of your actions.\u003c/p>\n\u003cp>I do stand \u003ca href=\"https://twitter.com/omgadrian/status/1187570425879904256?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">with E-40\u003c/a>, \u003ca href=\"https://twitter.com/p_lo/status/1311551426817007621?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and many others in this fight against misuse of our innovative idioms.\u003c/p>\n\u003cp>And at the same time, I know words change. Language evolves, just like the world we’re attempting to make sense of through the words we use.\u003c/p>\n\u003cp>While I envision a world where we can come together on one accord, and conquer the problems of our time—the spread of COVID, the fractured education system, economic disparity, the impending collapse of civilization—I imagine that it’ll be hard to do if we’re arguing about the proper use of lexicon.\u003c/p>\n\u003cp>In conclusion, the Raiders and 49ers are in the playoffs, Klay Thompson is back on the basketball court, housing is a human right, no one should be hungry in the wealthiest country in the world, mass incarceration is inhumane, and we don’t say “food slaps.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022",
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"content": "\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica\u003cbr>\nP!nk\u003cbr>\nTwenty One Pilots\u003cbr>\nLuke Combs\u003cbr>\nThe Black Crowes\u003cbr>\nKygo\u003cbr>\nPitbull\u003cbr>\nGreta Van Fleet\u003cbr>\nMount Westmore (featuring Snoop Dogg, Ice Cube, E-40 and Too $hort)\u003cbr>\nRainbow Kitten Surprise\u003cbr>\nCHVRCHES\u003cbr>\nBleachers\u003cbr>\nSpoon\u003cbr>\nBANKS\u003cbr>\nAlessia Cara\u003cbr>\nSAINt JHN\u003cbr>\nVance Joy\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nSilversun Pickups\u003cbr>\nThe Wailers featuring Julian Marley\u003cbr>\nIration\u003cbr>\nGreensky Bluegrass\u003cbr>\ngrandson\u003cbr>\nAmos Lee\u003cbr>\nYola\u003cbr>\nTai Verdes\u003cbr>\nMisterWives\u003cbr>\nMarcus King\u003cbr>\nFLETCHER\u003cbr>\nBahamas\u003cbr>\nNoah Kahan\u003cbr>\nGrandmaster Flash\u003cbr>\nMarc E. Bassy\u003cbr>\nFantastic Negrito\u003cbr>\nDrew Holcomb & The Neighbors\u003cbr>\nSkip Marley\u003cbr>\nKikagaku Moyo\u003cbr>\nRoyal & the Serpent\u003cbr>\nAly & AJ\u003cbr>\nJustus Bennetts\u003cbr>\nWild Rivers\u003cbr>\nKinky\u003cbr>\nTessa Violet\u003cbr>\nDorothy\u003cbr>\nFoy Vance\u003cbr>\nThe Brothers Comatose\u003cbr>\nJORDY\u003cbr>\nBlu DeTiger\u003cbr>\nAtlas Genius\u003cbr>\nJake Wesley Rogers\u003cbr>\nThe Happy Fits\u003cbr>\nDjo\u003cbr>\nAna Tijoux\u003cbr>\nAllison Ponthier\u003cbr>\nHot Milk\u003cbr>\nDiamante Eléctrico\u003cbr>\nDE’WAYNE\u003cbr>\nMadame Gandhi\u003cbr>\nLiily\u003cbr>\nThe Suffers\u003cbr>\nMotherfolk\u003cbr>\nEliza & The Delusionals\u003cbr>\nWilliam Prince\u003cbr>\nJames Tormé\u003cbr>\nTaipei Houston\u003cbr>\nBastardane\u003cbr>\nOTTTO\u003cbr>\nNiko Rubio\u003cbr>\nPeter Collins\u003cbr>\nJharrel Jerome\u003cbr>\nRon Artis II\u003cbr>\nFull Moonalice\u003cbr>\nThe Alive\u003cbr>\nJaleh\u003cbr>\nKosha Dillz\u003cbr>\nChelsea Effect\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), Alessia Cara, Grandmaster Flash and others also play the Memorial Day weekend festival in Napa. ",
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"description": "Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), Alessia Cara, Grandmaster Flash and others also play the Memorial Day weekend festival in Napa. ",
"title": "BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022 | KQED",
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"headline": "BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Metallica\u003cbr>\nP!nk\u003cbr>\nTwenty One Pilots\u003cbr>\nLuke Combs\u003cbr>\nThe Black Crowes\u003cbr>\nKygo\u003cbr>\nPitbull\u003cbr>\nGreta Van Fleet\u003cbr>\nMount Westmore (featuring Snoop Dogg, Ice Cube, E-40 and Too $hort)\u003cbr>\nRainbow Kitten Surprise\u003cbr>\nCHVRCHES\u003cbr>\nBleachers\u003cbr>\nSpoon\u003cbr>\nBANKS\u003cbr>\nAlessia Cara\u003cbr>\nSAINt JHN\u003cbr>\nVance Joy\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nSilversun Pickups\u003cbr>\nThe Wailers featuring Julian Marley\u003cbr>\nIration\u003cbr>\nGreensky Bluegrass\u003cbr>\ngrandson\u003cbr>\nAmos Lee\u003cbr>\nYola\u003cbr>\nTai Verdes\u003cbr>\nMisterWives\u003cbr>\nMarcus King\u003cbr>\nFLETCHER\u003cbr>\nBahamas\u003cbr>\nNoah Kahan\u003cbr>\nGrandmaster Flash\u003cbr>\nMarc E. Bassy\u003cbr>\nFantastic Negrito\u003cbr>\nDrew Holcomb & The Neighbors\u003cbr>\nSkip Marley\u003cbr>\nKikagaku Moyo\u003cbr>\nRoyal & the Serpent\u003cbr>\nAly & AJ\u003cbr>\nJustus Bennetts\u003cbr>\nWild Rivers\u003cbr>\nKinky\u003cbr>\nTessa Violet\u003cbr>\nDorothy\u003cbr>\nFoy Vance\u003cbr>\nThe Brothers Comatose\u003cbr>\nJORDY\u003cbr>\nBlu DeTiger\u003cbr>\nAtlas Genius\u003cbr>\nJake Wesley Rogers\u003cbr>\nThe Happy Fits\u003cbr>\nDjo\u003cbr>\nAna Tijoux\u003cbr>\nAllison Ponthier\u003cbr>\nHot Milk\u003cbr>\nDiamante Eléctrico\u003cbr>\nDE’WAYNE\u003cbr>\nMadame Gandhi\u003cbr>\nLiily\u003cbr>\nThe Suffers\u003cbr>\nMotherfolk\u003cbr>\nEliza & The Delusionals\u003cbr>\nWilliam Prince\u003cbr>\nJames Tormé\u003cbr>\nTaipei Houston\u003cbr>\nBastardane\u003cbr>\nOTTTO\u003cbr>\nNiko Rubio\u003cbr>\nPeter Collins\u003cbr>\nJharrel Jerome\u003cbr>\nRon Artis II\u003cbr>\nFull Moonalice\u003cbr>\nThe Alive\u003cbr>\nJaleh\u003cbr>\nKosha Dillz\u003cbr>\nChelsea Effect\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle",
"title": "No One Hustles Harder Than the Bay Area’s Hip-Hop Food Entrepreneurs",
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"headTitle": "No One Hustles Harder Than the Bay Area’s Hip-Hop Food Entrepreneurs | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]T[/dropcap]here’s no other rapper in the history of hustling who can serve you more flavors than E-40. If you don’t believe me, ask another certified Bay Area tycoon: San Francisco rapper Larry June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a recent \u003ca href=\"https://www.complex.com/music/jay-z-rozay-ye-larry-june-crowns-the-ultimate-hustler-or-complex-brackets\">interview with Complex Brackets\u003c/a>, June—who co-owns \u003ca href=\"https://www.honeybearbobaco.com/\">Honeybear Boba\u003c/a> and “does numbers” with his music—credited E-40 as “the ultimate hustler.” In a genre of music that has produced figures like Jay-Z, Bun B, Sean Combs, Suge Knight, Gucci Mane, Nipsey Hussle, Nicki Minaj and countless other business savants, E-40 being crowned “the ultimate” speaks volumes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I think of an ultimate hustler, I think of a person who’s been able to leverage their music to outside ventures,” B. Dot, the show’s host, told June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By this standard, how could anyone not crown E-40 as the preeminent entrepreneur in the Hall of Game?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From purveying his own brand of \u003c/span>\u003ca href=\"https://earlstevensselections.com/\">\u003cspan style=\"font-weight: 400\">wines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://ecuarenta.com/\">\u003cspan style=\"font-weight: 400\">tequilas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=YTe4FMYX5uU\">\u003cspan style=\"font-weight: 400\">cervezas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.forbes.com/sites/susannahbreslin/2015/09/27/e-40-sluricane/?sh=6a401ad56ab9\">\u003cspan style=\"font-weight: 400\">cocktails\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://40ozmaltliquor.com/brands/e40.php\">\u003cspan style=\"font-weight: 400\">malt liquor\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to \u003c/span>\u003ca href=\"https://sf.eater.com/2019/9/9/20857515/e-40-lumpia-company-co-owner-sf-oracle-park-filipino-food\">\u003cspan style=\"font-weight: 400\">dishing out lumpia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to running \u003c/span>\u003ca href=\"https://rockthebells.com/articles/20-greatest-e-40-songs-sick-wid-it/\">\u003cspan style=\"font-weight: 400\">his own record label,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Sick Wid’ It, and releasing so many slappers in a lifetime that we have all lost count (\u003c/span>\u003ca href=\"https://www.xxlmag.com/e40-talks-releasing-three-albums-on-same-day-upcoming-too-hort-collaboration/\">\u003cspan style=\"font-weight: 400\">he once put out three albums in one day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), no one better represents the art of calculated effort and long-term investment than Charlie Hustle himself. As he says on “Function,” this Ballatician could “sell the White House black paint.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, add to 40’s resume his latest and perhaps most intriguing venture: a food company.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://thegoonwiththespoon.com/\">\u003cspan style=\"font-weight: 400\">Goon With The Spoon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is something the 54-year-old says fulfilled a “lifelong dream,” according to his \u003c/span>\u003ca href=\"https://www.instagram.com/p/CVc9LUgA2Ja/?utm_source=ig_embed&ig_rid=2cd17ab2-eabe-4051-9bcf-9a554cad0937\">\u003cspan style=\"font-weight: 400\">Instagram announcement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The company’s pre-packaged sausages and burritos—offered in partnership with local barbecue chain Kinder’s Meats—playfully mirror the rapper’s inventive hip-hop vernacular (see: “Turf Burritos” and a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">\u003cspan style=\"font-weight: 400\">Choices (Yum)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” variety pack).\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CNq2sdlMBrz/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The brand’s name references track six on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Revenue Retrievin’: Day Shift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when rapper B-Legit says, “I’m a beast with the mouthpiece, goon with the spoon,” boasting about both his wordplay in the booth and illicit skills in the kitchen. Like the lyrics, 40’s newest endeavor seeks to bend the norm and feed the streets—literally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“No one better represents the art of calculated effort and long-term investment than Charlie Hustle himself.”[/pullquote]“[E-40] always takes the best of what he likes, then adds something unique to the table,” says Droop-E, E-40’s son, who is a rapper himself and consults on his dad’s business operations. “It’s pushing the envelope, just like how he brings a different style to the rap game. He’s just doing the same thing but in the food market.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Goon With The Spoon, that fresh remix includes removing the pork casing from his sausages and introducing untraditional sausage flavors, such as Philly cheesesteak and teriyaki pineapple chicken.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907801\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/A7R08481-scaled.jpg\" alt='Two \"turf burritos\" inside a refrigerated display case.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Two of Goon With The Spoon’s prepackaged burritos, spotted at a liquor store in Vallejo. \u003ccite>(Darius Riley | HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But 40 and his team aren’t the only cooks in the kitchen. They’re part of a long legacy of entrepreneurialism in the Northern California rap scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is arguably no place that demands more hustle than the Bay Area. It’s a soil that has cultivated a deep community of “ultimate hustlers”—rappers, activists, educators, poets, BART dancers, tech developers, revolutionaries, journalists, immigrants and other expressionists—who, going back to the Gold Rush of 1849, have had to embody a level of risk taking, multifaceted commerce and grit in order to thrive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In today’s globally competitive and hyper-inflated Bay Area market, you need to be able to maneuver multiple services in order to get ahead—especially in light of reports that saddle the region with the notorious title of \u003c/span>\u003ca href=\"https://abc7news.com/sf-metro-area-most-expensive-to-live-cost-of-living-bay-home-prices-silicon-valley/11343904/\">\u003cspan style=\"font-weight: 400\">“most expensive place to live in the U.S.”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> For the true hustler, though, that high cost of living has simply inspired alternative forms of income.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hustling is a huge part of the Bay Area rap aesthetic,” says hip-hop journalist Eric Arnold. “Going back to Too $hort and Freddy B in 1983 selling tapes on the bus line with no record label. It all started there.” In Arnold’s view, Too $hort may have been rap’s earliest player to showcase his entrepreneurial autonomy. The East Oakland rapper famously self-ignited his career by selling his music from the trunk of his vehicle, pioneering popular phrases like “born to mack” and “out the trunk”—terms that are still used in hip-hop to indicate one’s DIY ambitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As time went on, rappers and performers looked at things other than just the music as a form of economic sustainability,” Arnold says. “It could be \u003c/span>\u003ca href=\"https://www.forbes.com/sites/javierhasse/2020/09/16/berner/?sh=22e201a9541d\">\u003cspan style=\"font-weight: 400\">Berner being a partner in [the cannabis company] Cookies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It could be \u003c/span>\u003ca href=\"http://www.daveyd.com/FullArticles/articleN149.asp\">\u003cspan style=\"font-weight: 400\">Pam the Funkstress formerly owning her restaurant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and catering business, Piccadilly’s. \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/oaklands-mistah-f-a-b-dealing-clothing-and-life-lessons-in-his-dope-era-shop/2455765/\">\u003cspan style=\"font-weight: 400\">Look at F.A.B with Dope Era\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, some of the hottest gear in the streets right now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same can be said for a young Master P, who before making his name in New Orleans with No Limit Records—one of the most successful labels of the ’90s and ’00s—spent his formative years in Richmond operating his first business: \u003c/span>\u003ca href=\"https://theurbandaily.com/1336195/black-music-moment-55-master-ps-no-limit-records-founded/\">\u003cspan style=\"font-weight: 400\">No Limit Record Shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea that rap is the only thing people can do as rappers and DJs is false,” Arnold says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Eric Arnold\"]“Rappers and performers looked at things other than just the music as a form of economic sustainability.”[/pullquote]From the Hieroglyphics running their own record label in 1995 and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865645/hieroglyphics-hip-hop-holy-day-celebrated-the-bay-areas-independent-spirit\">\u003cspan style=\"font-weight: 400\">curating a yearly, community showcase\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for other artists, to the Coup’s \u003c/span>\u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-mov-boots-riley-0713-story.html\">\u003cspan style=\"font-weight: 400\">Boots Riley becoming a renowned screenwriter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and director in recent years, there is no shortage of local rappers, DJs, and producers who have made an indelible impact on the region’s culture with their outside ventures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s with food and drinks that Bay Area hip-hop has delivered its best work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who else but Larry June is rapping about fresh smoothies while actually owning a \u003ca href=\"https://www.instagram.com/honeybearboba_/?hl=en\">popular boba shop\u003c/a>? From the Team’s \u003c/span>\u003ca href=\"https://www.sfgate.com/column/article/Bay-Area-Hyphy-Juice-Soda-Clyde-Carson-grapple-16480549.php\">\u003cspan style=\"font-weight: 400\">Clyde Carson co-owning Hyphy Juice\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to the vaunted hustles of Nump, who owns a \u003c/span>\u003ca href=\"https://www.facebook.com/watch/?v=1263174667045544\">\u003cspan style=\"font-weight: 400\">doughnut shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (in addition to running \u003c/span>\u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\">\u003cspan style=\"font-weight: 400\">a cannabis delivery service that offers “Lumpia” blunts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), to \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://datebook.sfchronicle.com/music/hip-hop-has-become-an-influencer-in-the-bay-area-restaurant-industry\">Don Toriano\u003c/a>, who created the popular restaurant and \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">food truck Vegan Mob\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">, a diversified food and beverage portfolio is perhaps the most defining contribution to the Bay Area rapper’s playbook, which is designed to be versatile and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sxXsBTMuZgU\">\u003cspan style=\"font-weight: 400\">“Quarterbackin’.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, we have 40 Fonzarelli to thank for that. More than anyone else it’s 40, carrying as many aliases as he does enterprises, who showcases the food game hustle that is interconnected with Bay Area rap culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“40 owned a Fatburger back in the day,” Arnold says. “He told you he was a hustler from day one, back in 1992. He was telling you that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that he’s still pushing weight and launching new ventures in 2021 shouldn’t shock anyone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My pops is just super focused because he really enjoys what he does,” says Droop-E. “He’s always cooking for the family, asking us for our honest opinions. It tastes better when someone makes something they care about.”\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CYPlG9-Dwhu/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though \u003c/span>\u003ca href=\"https://www.kqed.org/pop/17076/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing\">\u003cspan style=\"font-weight: 400\">not all of 40’s pursuits have been received glowingly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, no one can knock his hustle. Earl Stevens’ relentlessness to trailblaze multiple paths at once has provided a roadmap for generations of listeners, who in turn have embraced his freelancing spirit. His efforts have earned him recognition from media outlets that don’t typically seek out rappers for their food expertise, including \u003c/span>\u003ca href=\"https://www.forbes.com/sites/andreabossi/2021/03/24/legendary-rapper-e-40-talks-building-his-spirits-empire-owning-100/?sh=1c64ad2118cb\">\u003ci>\u003cspan style=\"font-weight: 400\">Forbes\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.businessinsider.com/e-40-interview-spirits-clubhouse-verzuz-2021-4\">\u003ci>\u003cspan style=\"font-weight: 400\">Business Insider\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://sf.eater.com/2018/2/1/16960322/e-40-tequila-line-e-cuarenta\">\u003cspan style=\"font-weight: 400\">Eater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Through it all, he’s remained loyal to his soil—and helped to define it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think the Bay, if I was to put a finger on it, knows we’re not New York, LA, Chicago,” Arnold says. “You get used to being an underdog. You get used to taking an extra step because of the lack of media or industry infrastructure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having that “extra step” is what elevates those who are driven to find and create their own lane, even when it may not seem possible.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13895209,arts_13890437']Although it has become more commonplace (and sometimes necessary) for people to have multiple sources of income here in the Bay, the region’s rappers have been laying the groundwork for this blueprint decades before it was normalized. However you cut the math, these hip-hop legends have been “revenue retrieving” and “currency collecting” the hard way since the early ’80s—back when most mainstream rappers were dependent on major brands and record labels to fuel their image, rather than creating their own. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 40, the past few decades have been so flavorful that Droop-E told me he and his pops are planning to launch a line of ice cream soon, with up to seven different varieties. Fittingly, the Vallejo rapper’s newest hustle will be as the “\u003ca href=\"https://www.youtube.com/watch?v=OAqUP4Dt5co\">Ice Cream Man\u003c/a>,” a phrase coined back in ’93 by Bay Area counterparts Dru Down and Luniz, who later collaborated with 40 on the “I Got 5 On It” remix. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though his ice cream’s release dates have yet to be announced, Droop-E assures me it’s officially on the way.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like I said, no one serves more flavors than E-40.\u003c/span>\u003c/p>\n\n",
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"excerpt": "E-40's sausage and burrito brand, Goon With The Spoon, is the latest addition to a long Bay Area rap legacy.",
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"title": "E-40's Sausage Brand Joins a Long Legacy of Bay Area Hip-Hop Food Entrepreneurs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here’s no other rapper in the history of hustling who can serve you more flavors than E-40. If you don’t believe me, ask another certified Bay Area tycoon: San Francisco rapper Larry June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a recent \u003ca href=\"https://www.complex.com/music/jay-z-rozay-ye-larry-june-crowns-the-ultimate-hustler-or-complex-brackets\">interview with Complex Brackets\u003c/a>, June—who co-owns \u003ca href=\"https://www.honeybearbobaco.com/\">Honeybear Boba\u003c/a> and “does numbers” with his music—credited E-40 as “the ultimate hustler.” In a genre of music that has produced figures like Jay-Z, Bun B, Sean Combs, Suge Knight, Gucci Mane, Nipsey Hussle, Nicki Minaj and countless other business savants, E-40 being crowned “the ultimate” speaks volumes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I think of an ultimate hustler, I think of a person who’s been able to leverage their music to outside ventures,” B. Dot, the show’s host, told June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By this standard, how could anyone not crown E-40 as the preeminent entrepreneur in the Hall of Game?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From purveying his own brand of \u003c/span>\u003ca href=\"https://earlstevensselections.com/\">\u003cspan style=\"font-weight: 400\">wines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://ecuarenta.com/\">\u003cspan style=\"font-weight: 400\">tequilas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=YTe4FMYX5uU\">\u003cspan style=\"font-weight: 400\">cervezas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.forbes.com/sites/susannahbreslin/2015/09/27/e-40-sluricane/?sh=6a401ad56ab9\">\u003cspan style=\"font-weight: 400\">cocktails\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://40ozmaltliquor.com/brands/e40.php\">\u003cspan style=\"font-weight: 400\">malt liquor\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to \u003c/span>\u003ca href=\"https://sf.eater.com/2019/9/9/20857515/e-40-lumpia-company-co-owner-sf-oracle-park-filipino-food\">\u003cspan style=\"font-weight: 400\">dishing out lumpia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to running \u003c/span>\u003ca href=\"https://rockthebells.com/articles/20-greatest-e-40-songs-sick-wid-it/\">\u003cspan style=\"font-weight: 400\">his own record label,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Sick Wid’ It, and releasing so many slappers in a lifetime that we have all lost count (\u003c/span>\u003ca href=\"https://www.xxlmag.com/e40-talks-releasing-three-albums-on-same-day-upcoming-too-hort-collaboration/\">\u003cspan style=\"font-weight: 400\">he once put out three albums in one day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), no one better represents the art of calculated effort and long-term investment than Charlie Hustle himself. As he says on “Function,” this Ballatician could “sell the White House black paint.”\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\">Now, add to 40’s resume his latest and perhaps most intriguing venture: a food company.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://thegoonwiththespoon.com/\">\u003cspan style=\"font-weight: 400\">Goon With The Spoon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is something the 54-year-old says fulfilled a “lifelong dream,” according to his \u003c/span>\u003ca href=\"https://www.instagram.com/p/CVc9LUgA2Ja/?utm_source=ig_embed&ig_rid=2cd17ab2-eabe-4051-9bcf-9a554cad0937\">\u003cspan style=\"font-weight: 400\">Instagram announcement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The company’s pre-packaged sausages and burritos—offered in partnership with local barbecue chain Kinder’s Meats—playfully mirror the rapper’s inventive hip-hop vernacular (see: “Turf Burritos” and a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">\u003cspan style=\"font-weight: 400\">Choices (Yum)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” variety pack).\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The brand’s name references track six on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Revenue Retrievin’: Day Shift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when rapper B-Legit says, “I’m a beast with the mouthpiece, goon with the spoon,” boasting about both his wordplay in the booth and illicit skills in the kitchen. Like the lyrics, 40’s newest endeavor seeks to bend the norm and feed the streets—literally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“No one better represents the art of calculated effort and long-term investment than Charlie Hustle himself.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[E-40] always takes the best of what he likes, then adds something unique to the table,” says Droop-E, E-40’s son, who is a rapper himself and consults on his dad’s business operations. “It’s pushing the envelope, just like how he brings a different style to the rap game. He’s just doing the same thing but in the food market.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Goon With The Spoon, that fresh remix includes removing the pork casing from his sausages and introducing untraditional sausage flavors, such as Philly cheesesteak and teriyaki pineapple chicken.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907801\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/A7R08481-scaled.jpg\" alt='Two \"turf burritos\" inside a refrigerated display case.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Two of Goon With The Spoon’s prepackaged burritos, spotted at a liquor store in Vallejo. \u003ccite>(Darius Riley | HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But 40 and his team aren’t the only cooks in the kitchen. They’re part of a long legacy of entrepreneurialism in the Northern California rap scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is arguably no place that demands more hustle than the Bay Area. It’s a soil that has cultivated a deep community of “ultimate hustlers”—rappers, activists, educators, poets, BART dancers, tech developers, revolutionaries, journalists, immigrants and other expressionists—who, going back to the Gold Rush of 1849, have had to embody a level of risk taking, multifaceted commerce and grit in order to thrive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In today’s globally competitive and hyper-inflated Bay Area market, you need to be able to maneuver multiple services in order to get ahead—especially in light of reports that saddle the region with the notorious title of \u003c/span>\u003ca href=\"https://abc7news.com/sf-metro-area-most-expensive-to-live-cost-of-living-bay-home-prices-silicon-valley/11343904/\">\u003cspan style=\"font-weight: 400\">“most expensive place to live in the U.S.”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> For the true hustler, though, that high cost of living has simply inspired alternative forms of income.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hustling is a huge part of the Bay Area rap aesthetic,” says hip-hop journalist Eric Arnold. “Going back to Too $hort and Freddy B in 1983 selling tapes on the bus line with no record label. It all started there.” In Arnold’s view, Too $hort may have been rap’s earliest player to showcase his entrepreneurial autonomy. The East Oakland rapper famously self-ignited his career by selling his music from the trunk of his vehicle, pioneering popular phrases like “born to mack” and “out the trunk”—terms that are still used in hip-hop to indicate one’s DIY ambitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As time went on, rappers and performers looked at things other than just the music as a form of economic sustainability,” Arnold says. “It could be \u003c/span>\u003ca href=\"https://www.forbes.com/sites/javierhasse/2020/09/16/berner/?sh=22e201a9541d\">\u003cspan style=\"font-weight: 400\">Berner being a partner in [the cannabis company] Cookies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It could be \u003c/span>\u003ca href=\"http://www.daveyd.com/FullArticles/articleN149.asp\">\u003cspan style=\"font-weight: 400\">Pam the Funkstress formerly owning her restaurant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and catering business, Piccadilly’s. \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/oaklands-mistah-f-a-b-dealing-clothing-and-life-lessons-in-his-dope-era-shop/2455765/\">\u003cspan style=\"font-weight: 400\">Look at F.A.B with Dope Era\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, some of the hottest gear in the streets right now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same can be said for a young Master P, who before making his name in New Orleans with No Limit Records—one of the most successful labels of the ’90s and ’00s—spent his formative years in Richmond operating his first business: \u003c/span>\u003ca href=\"https://theurbandaily.com/1336195/black-music-moment-55-master-ps-no-limit-records-founded/\">\u003cspan style=\"font-weight: 400\">No Limit Record Shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea that rap is the only thing people can do as rappers and DJs is false,” Arnold says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From the Hieroglyphics running their own record label in 1995 and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865645/hieroglyphics-hip-hop-holy-day-celebrated-the-bay-areas-independent-spirit\">\u003cspan style=\"font-weight: 400\">curating a yearly, community showcase\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for other artists, to the Coup’s \u003c/span>\u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-mov-boots-riley-0713-story.html\">\u003cspan style=\"font-weight: 400\">Boots Riley becoming a renowned screenwriter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and director in recent years, there is no shortage of local rappers, DJs, and producers who have made an indelible impact on the region’s culture with their outside ventures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s with food and drinks that Bay Area hip-hop has delivered its best work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who else but Larry June is rapping about fresh smoothies while actually owning a \u003ca href=\"https://www.instagram.com/honeybearboba_/?hl=en\">popular boba shop\u003c/a>? From the Team’s \u003c/span>\u003ca href=\"https://www.sfgate.com/column/article/Bay-Area-Hyphy-Juice-Soda-Clyde-Carson-grapple-16480549.php\">\u003cspan style=\"font-weight: 400\">Clyde Carson co-owning Hyphy Juice\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to the vaunted hustles of Nump, who owns a \u003c/span>\u003ca href=\"https://www.facebook.com/watch/?v=1263174667045544\">\u003cspan style=\"font-weight: 400\">doughnut shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (in addition to running \u003c/span>\u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\">\u003cspan style=\"font-weight: 400\">a cannabis delivery service that offers “Lumpia” blunts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), to \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://datebook.sfchronicle.com/music/hip-hop-has-become-an-influencer-in-the-bay-area-restaurant-industry\">Don Toriano\u003c/a>, who created the popular restaurant and \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">food truck Vegan Mob\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">, a diversified food and beverage portfolio is perhaps the most defining contribution to the Bay Area rapper’s playbook, which is designed to be versatile and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sxXsBTMuZgU\">\u003cspan style=\"font-weight: 400\">“Quarterbackin’.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, we have 40 Fonzarelli to thank for that. More than anyone else it’s 40, carrying as many aliases as he does enterprises, who showcases the food game hustle that is interconnected with Bay Area rap culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“40 owned a Fatburger back in the day,” Arnold says. “He told you he was a hustler from day one, back in 1992. He was telling you that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that he’s still pushing weight and launching new ventures in 2021 shouldn’t shock anyone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My pops is just super focused because he really enjoys what he does,” says Droop-E. “He’s always cooking for the family, asking us for our honest opinions. It tastes better when someone makes something they care about.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Though \u003c/span>\u003ca href=\"https://www.kqed.org/pop/17076/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing\">\u003cspan style=\"font-weight: 400\">not all of 40’s pursuits have been received glowingly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, no one can knock his hustle. Earl Stevens’ relentlessness to trailblaze multiple paths at once has provided a roadmap for generations of listeners, who in turn have embraced his freelancing spirit. His efforts have earned him recognition from media outlets that don’t typically seek out rappers for their food expertise, including \u003c/span>\u003ca href=\"https://www.forbes.com/sites/andreabossi/2021/03/24/legendary-rapper-e-40-talks-building-his-spirits-empire-owning-100/?sh=1c64ad2118cb\">\u003ci>\u003cspan style=\"font-weight: 400\">Forbes\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.businessinsider.com/e-40-interview-spirits-clubhouse-verzuz-2021-4\">\u003ci>\u003cspan style=\"font-weight: 400\">Business Insider\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://sf.eater.com/2018/2/1/16960322/e-40-tequila-line-e-cuarenta\">\u003cspan style=\"font-weight: 400\">Eater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Through it all, he’s remained loyal to his soil—and helped to define it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think the Bay, if I was to put a finger on it, knows we’re not New York, LA, Chicago,” Arnold says. “You get used to being an underdog. You get used to taking an extra step because of the lack of media or industry infrastructure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having that “extra step” is what elevates those who are driven to find and create their own lane, even when it may not seem possible.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although it has become more commonplace (and sometimes necessary) for people to have multiple sources of income here in the Bay, the region’s rappers have been laying the groundwork for this blueprint decades before it was normalized. However you cut the math, these hip-hop legends have been “revenue retrieving” and “currency collecting” the hard way since the early ’80s—back when most mainstream rappers were dependent on major brands and record labels to fuel their image, rather than creating their own. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 40, the past few decades have been so flavorful that Droop-E told me he and his pops are planning to launch a line of ice cream soon, with up to seven different varieties. Fittingly, the Vallejo rapper’s newest hustle will be as the “\u003ca href=\"https://www.youtube.com/watch?v=OAqUP4Dt5co\">Ice Cream Man\u003c/a>,” a phrase coined back in ’93 by Bay Area counterparts Dru Down and Luniz, who later collaborated with 40 on the “I Got 5 On It” remix. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though his ice cream’s release dates have yet to be announced, Droop-E assures me it’s officially on the way.\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\">Like I said, no one serves more flavors than E-40.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4118051049\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>East Oakland’s Capolow is a rapper on the rise.\u003c/p>\n\u003cp>Known for his high-energy anthem songs and his catchy “aye-aye!” ad lib, Capolow’s music is ringing bells in the Bay Area and beyond. He made an album called “Oakland Nights” with Kamaiyah, and has made tracks with E-40, ALLBLACK, and Nef The Pharaoh.\u003c/p>\n\u003cp>But before he was a rapper – ten years ago – Capolow was one of the students in my class at Oakland Tech.\u003c/p>\n\u003cp>He was one of 20 students, all African American men. The class was all about brotherhood and developing the critical thinking they’d need as young Black men in America. It was part of Oakland Unified School District’s African American Male Achievement Department (now called \u003ca href=\"https://www.ousd.org/equity\" target=\"_blank\" rel=\"noopener noreferrer\">the Office of Equity\u003c/a>).\u003c/p>\n\u003cp>Since then, my former student Capolow has seen some highs and lows. The once fresh faced kid who rocked a high-top fade and loved dancing is now covered in tattoos, has spent time incarcerated, and is scheduled to perform at Rolling Loud later this year.\u003c/p>\n\u003cp>Between his popular uplifting party anthems, Capolow has some tracks that cut deep; that duality is just part of being a Black man in America.\u003c/p>\n\u003cp>In this episode of Rightnowish, I’m checking in with Capolow on his journey and his music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>In 2006, when music producer \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks\u003c/a> remixed the smash hit by E-40 and Keak Da Sneak, “Tell Me When To Go,” \u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">he created a cultural jewel\u003c/a> that sent waves throughout the Yay. The remix took a seminal song from the Hyphy Movement, added a unique wrinkle, and then proceeded to make faces melt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ii7QSbxg88w\u003c/p>\n\u003cp>The track could be heard at pep rallies in the valley, in nightclubs in San Francisco and blasting out of the front grill speakers of Chevy vans as they smashed through Deep East Oakland.\u003c/p>\n\u003cp>Trackademicks, a half-Black and half-Filipino guy who was raised in Alameda, looks at his own lineage and says remixing things is in his DNA, literally.\u003c/p>\n\u003cp>It was already in the music too. The Hyphy movement has its own history of mixing genres, which allowed it to birth something unique in The Bay.\u003c/p>\n\u003cp>Now, as a number of rappers (\u003ca href=\"https://www.youtube.com/watch?v=Cc8oGJNUh2o&list=OLAK5uy_kS656OLwsYU_0N1YsfmLkv5bA3pQjr6Sc\" target=\"_blank\" rel=\"noopener noreferrer\">including Trackademicks\u003c/a>) make music that harkens back to that era, we thought it’d be a good time to discuss how the big sun glasses, fun dances, and uptempo music of the Hyphy Movement came to be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9687019930\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySel0OB-TDw\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K71IXLQpGss\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoQ4AtsFWVM\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMnTawcUZLQ\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b8kTV4VtKA\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2QjOclOzkU\u003c/p>\n\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37_C3WaTNk\u003c/p>\n\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Before Hyphy Music there was Mobb Music, but Funk Music laid the foundation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2006, when music producer \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks\u003c/a> remixed the smash hit by E-40 and Keak Da Sneak, “Tell Me When To Go,” \u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">he created a cultural jewel\u003c/a> that sent waves throughout the Yay. The remix took a seminal song from the Hyphy Movement, added a unique wrinkle, and then proceeded to make faces melt.\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/ii7QSbxg88w'\n title='//www.youtube.com/embed/ii7QSbxg88w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The track could be heard at pep rallies in the valley, in nightclubs in San Francisco and blasting out of the front grill speakers of Chevy vans as they smashed through Deep East Oakland.\u003c/p>\n\u003cp>Trackademicks, a half-Black and half-Filipino guy who was raised in Alameda, looks at his own lineage and says remixing things is in his DNA, literally.\u003c/p>\n\u003cp>It was already in the music too. The Hyphy movement has its own history of mixing genres, which allowed it to birth something unique in The Bay.\u003c/p>\n\u003cp>Now, as a number of rappers (\u003ca href=\"https://www.youtube.com/watch?v=Cc8oGJNUh2o&list=OLAK5uy_kS656OLwsYU_0N1YsfmLkv5bA3pQjr6Sc\" target=\"_blank\" rel=\"noopener noreferrer\">including Trackademicks\u003c/a>) make music that harkens back to that era, we thought it’d be a good time to discuss how the big sun glasses, fun dances, and uptempo music of the Hyphy Movement came to be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9687019930\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\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/ySel0OB-TDw'\n title='//www.youtube.com/embed/ySel0OB-TDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K71IXLQpGss'\n title='//www.youtube.com/embed/K71IXLQpGss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\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/AoQ4AtsFWVM'\n title='//www.youtube.com/embed/AoQ4AtsFWVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\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/qMnTawcUZLQ'\n title='//www.youtube.com/embed/qMnTawcUZLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\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/1b8kTV4VtKA'\n title='//www.youtube.com/embed/1b8kTV4VtKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\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/v2QjOclOzkU'\n title='//www.youtube.com/embed/v2QjOclOzkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\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/v37_C3WaTNk'\n title='//www.youtube.com/embed/v37_C3WaTNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When I was in college, my girls and I would get all dressed up in our tight jeans, jersey dresses and stretchy shirts, and line the hallway of the designated “Afro floor” dorms at UC Berkeley, ready to go to a party. That hallway was like a runway. New fits were debuted, uncomfortable stilettos were broken in, fresh perms and presses ready to be sweated out. We were Black girls in search of fun nights, backed by the sounds of Bay Area hip-hop that filled the venues with a kind of euphoric chaos that I haven’t witnessed since.[aside postid='arts_13890437']\u003c/p>\n\u003cp>We never drank at these parties, but the dancing was a kind of intoxication. We danced until we sweat, forming a circle together; young Black women mouthing the words to songs not always meant for us, transforming meaning as our hips circled and swayed in the darkness. This was our space.\u003c/p>\n\u003cp>The guys came in white T-shirts and button-ups, some with deep waves in their haircuts, smelling of strong cologne. And we didn’t have to try. We’d just turn around, and they’d be there, standing behind us, waiting to be grinded on. But what if we didn’t want to? What if our bodies weren’t an invitation?\u003c/p>\n\u003cfigure id=\"attachment_13890573\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890573 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/1923279_506862691058_5216_n.jpg\" alt=\"\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/1923279_506862691058_5216_n.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/1923279_506862691058_5216_n-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The author, Nijla Mu’min, with her friend Janine Rubenstein at a party in Oakland in 2006. \u003ccite>(BayNightLife.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One night, I refuse to dance with a guy who then picks me up and carries me around the club in anger. I struggle to get down but he won’t let go. My girlfriends tug his arm until he does. I remember.\u003c/p>\n\u003cp>Another time, “\u003ca href=\"https://www.youtube.com/watch?v=9EWuoodHgG4&ab_channel=TooShortVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">Shake That Monkey\u003c/a>” by Too $hort and Lil Jon comes on and my knees are tired. I wanna hit up Jack in the Box, but my girls are still dancing. Some guy keeps getting behind me, and it seems like he might be aroused through his jeans. I can feel his wet breath on my neck. I’m uncomfortable, and I quickly dance away from him, disappearing into the crowd as the song segues into an extended chorus of, “Now put your ass on his dick / Let him know you the baddest lil’ bitch / Put your hand on your clit / Ask him do he like that shit.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I made my first short film in 2006. It was around the time that E-40’s classic “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js&ab_channel=WarnerRecords\" target=\"_blank\" rel=\"noopener noreferrer\">Tell Me When To Go\u003c/a>” was released. I had a white Cutlass with a blue interior that could’ve been a scraper, and the bass bounced off the windows. My film was appropriately titled \u003ca href=\"https://www.nijlamumin.com/blog/2018/2/16/my-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Oakland\u003c/em>\u003c/a>, about a Black woman falling for a Black man through her bedroom window. It starred my friend \u003ca href=\"https://www.wmagazine.com/story/yahya-abdul-mateen-ii-trial-of-the-chicago-7-watchmen-aquaman-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">Yahya Abdul-Mateen II\u003c/a>. My editor used that song during one of the opening scenes in the film. We shot on-location around the North Oakland house I lived in at the time. One day, while I was filming b-roll in my neighborhood, a Black male neighbor yelled out: “Bitch, you better put down that camera!” It made me aware of myself in a way I hadn’t been before, and I began to realize I wasn’t always perceived as an equal participant in the culture I came to celebrate.\u003c/p>\n\u003cfigure id=\"attachment_13890586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2071738995_51efc00255_o-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-1536x986.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o.jpg 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 35mm film photo by Nijla Mu’min from 2006 titled ”MacArthur BART.” \u003ccite>(Nijla Mu’min)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we could all dance and go crazy at the parties, I was called an “ugly ass bitch” on Telegraph Avenue for not giving my number to a man I didn’t know. I walked away startled, with anger and hurt in my throat. I was followed by a different group of men while driving home because I wouldn’t slow down to talk to them through my car window. I was writing for a Bay Area hip-hop publication and was told I couldn’t interview a well-known Bay Area rapper because he didn’t like to be interviewed by “females.” And I remember a friend who got spit on by her boyfriend in high school because she had an argument with him. We often celebrated the pimp culture in this music, sometimes at the very expense of ourselves. [aside postid='arts_13890558']\u003c/p>\n\u003cp>My identity as a Black woman filmmaker was forming at this time, and it was inherently subversive. I wanted to document the people around me in ways that humanized them, especially Black women. The heavy thump of “Tell Me When To Go” was like the backdrop of my emergence into this medium. I was going dumb at the parties, spending long days in the dark room developing film prints and then renting cameras to bring the Bay to life at a time when I had no example to follow.\u003c/p>\n\u003cfigure id=\"attachment_13890574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890574 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-800x614.png\" alt=\"\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-800x614.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-1020x783.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-1536x1179.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 35mm film photo by Nijla Mu’min titled “Janine and Amena,” from 2007. \u003ccite>(Nijla Mu'min)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same independent, grassroots, guerrilla grind culture that helped birth some of the classic Bay Area hip-hop is what also brought me into storytelling in this medium. I wasn’t selling CDs out of my trunk like E-40, but I was teaching and immersing myself in the craft, documenting the sounds and moments that would come to define an era. I was \u003ca href=\"https://www.youtube.com/watch?v=8wDziTMsA9k&ab_channel=TooShortVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">gettin’ it\u003c/a>. I was a Black girl—discovering, but not always welcomed. [aside postid='arts_13823736']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wonder how certain Too $hort songs have aged, and if they will be played in his \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz battle\u003c/a> with E-40. I wonder if we’ll all just bob our heads and let it ride. I wonder what it means to be of a moment, but also be critical of your place in it. Those Friday nights dancing, those days building stories with a camera and film, are indelibly a part of the culture I come from, though I see things through my own lens.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We never drank at these parties, but the dancing was a kind of intoxication. We danced until we sweat, forming a circle together; young Black women mouthing the words to songs not always meant for us, transforming meaning as our hips circled and swayed in the darkness. This was our space.\u003c/p>\n\u003cp>The guys came in white T-shirts and button-ups, some with deep waves in their haircuts, smelling of strong cologne. And we didn’t have to try. We’d just turn around, and they’d be there, standing behind us, waiting to be grinded on. But what if we didn’t want to? What if our bodies weren’t an invitation?\u003c/p>\n\u003cfigure id=\"attachment_13890573\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890573 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/1923279_506862691058_5216_n.jpg\" alt=\"\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/1923279_506862691058_5216_n.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/1923279_506862691058_5216_n-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The author, Nijla Mu’min, with her friend Janine Rubenstein at a party in Oakland in 2006. \u003ccite>(BayNightLife.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One night, I refuse to dance with a guy who then picks me up and carries me around the club in anger. I struggle to get down but he won’t let go. My girlfriends tug his arm until he does. I remember.\u003c/p>\n\u003cp>Another time, “\u003ca href=\"https://www.youtube.com/watch?v=9EWuoodHgG4&ab_channel=TooShortVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">Shake That Monkey\u003c/a>” by Too $hort and Lil Jon comes on and my knees are tired. I wanna hit up Jack in the Box, but my girls are still dancing. Some guy keeps getting behind me, and it seems like he might be aroused through his jeans. I can feel his wet breath on my neck. I’m uncomfortable, and I quickly dance away from him, disappearing into the crowd as the song segues into an extended chorus of, “Now put your ass on his dick / Let him know you the baddest lil’ bitch / Put your hand on your clit / Ask him do he like that shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I made my first short film in 2006. It was around the time that E-40’s classic “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js&ab_channel=WarnerRecords\" target=\"_blank\" rel=\"noopener noreferrer\">Tell Me When To Go\u003c/a>” was released. I had a white Cutlass with a blue interior that could’ve been a scraper, and the bass bounced off the windows. My film was appropriately titled \u003ca href=\"https://www.nijlamumin.com/blog/2018/2/16/my-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Oakland\u003c/em>\u003c/a>, about a Black woman falling for a Black man through her bedroom window. It starred my friend \u003ca href=\"https://www.wmagazine.com/story/yahya-abdul-mateen-ii-trial-of-the-chicago-7-watchmen-aquaman-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">Yahya Abdul-Mateen II\u003c/a>. My editor used that song during one of the opening scenes in the film. We shot on-location around the North Oakland house I lived in at the time. One day, while I was filming b-roll in my neighborhood, a Black male neighbor yelled out: “Bitch, you better put down that camera!” It made me aware of myself in a way I hadn’t been before, and I began to realize I wasn’t always perceived as an equal participant in the culture I came to celebrate.\u003c/p>\n\u003cfigure id=\"attachment_13890586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2071738995_51efc00255_o-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o-1536x986.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2071738995_51efc00255_o.jpg 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 35mm film photo by Nijla Mu’min from 2006 titled ”MacArthur BART.” \u003ccite>(Nijla Mu’min)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we could all dance and go crazy at the parties, I was called an “ugly ass bitch” on Telegraph Avenue for not giving my number to a man I didn’t know. I walked away startled, with anger and hurt in my throat. I was followed by a different group of men while driving home because I wouldn’t slow down to talk to them through my car window. I was writing for a Bay Area hip-hop publication and was told I couldn’t interview a well-known Bay Area rapper because he didn’t like to be interviewed by “females.” And I remember a friend who got spit on by her boyfriend in high school because she had an argument with him. We often celebrated the pimp culture in this music, sometimes at the very expense of ourselves. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My identity as a Black woman filmmaker was forming at this time, and it was inherently subversive. I wanted to document the people around me in ways that humanized them, especially Black women. The heavy thump of “Tell Me When To Go” was like the backdrop of my emergence into this medium. I was going dumb at the parties, spending long days in the dark room developing film prints and then renting cameras to bring the Bay to life at a time when I had no example to follow.\u003c/p>\n\u003cfigure id=\"attachment_13890574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890574 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-800x614.png\" alt=\"\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-800x614.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-1020x783.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM-1536x1179.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-17-at-11.19.17-AM.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 35mm film photo by Nijla Mu’min titled “Janine and Amena,” from 2007. \u003ccite>(Nijla Mu'min)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same independent, grassroots, guerrilla grind culture that helped birth some of the classic Bay Area hip-hop is what also brought me into storytelling in this medium. I wasn’t selling CDs out of my trunk like E-40, but I was teaching and immersing myself in the craft, documenting the sounds and moments that would come to define an era. I was \u003ca href=\"https://www.youtube.com/watch?v=8wDziTMsA9k&ab_channel=TooShortVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">gettin’ it\u003c/a>. I was a Black girl—discovering, but not always welcomed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wonder how certain Too $hort songs have aged, and if they will be played in his \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz battle\u003c/a> with E-40. I wonder if we’ll all just bob our heads and let it ride. I wonder what it means to be of a moment, but also be critical of your place in it. Those Friday nights dancing, those days building stories with a camera and film, are indelibly a part of the culture I come from, though I see things through my own lens.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture",
"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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"headTitle": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. [aside postid='arts_13890048']\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2198604807\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture | KQED",
"description": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"headline": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \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\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-pandemic-the-protests-and-the-police-songs-of-the-summer-2020",
"title": "The Pandemic, the Protests and the Police: Songs of the Summer 2020",
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"headTitle": "The Pandemic, the Protests and the Police: Songs of the Summer 2020 | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t tell you if it’s music for the movement, music for “the moment,” or just music to make money. But I can tell you artists have been working. And I’ve been listening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Between the COVID-19 pandemic, the nationwide protests and the push for defunding the police, a wave of songs has arrived, all of them documenting the beginning of summertime in 2020.\u003c/p>\n\u003cp>Last week, Beyoncé released the track “\u003ca href=\"https://www.youtube.com/watch?v=EJT1m1ele00\">Black Parade\u003c/a>,” a lil’ southern flavor to accompany the Juneteenth holiday. Queen B doubled down on its message of Black empowerment by teaming up with stylist Zerina Akers, who runs the \u003ca href=\"https://www.instagram.com/p/CBn6B4iFkNr/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">@black.owned.everything\u003c/a> page, to create a Black business directory called the \u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Parade Route\u003c/a>.\u003c/p>\n\u003cp>J. Cole and Noname had a back-and-forth, during which Cole dropped “\u003ca href=\"https://www.youtube.com/watch?v=OZa3HyVLimQ\">Snow On The Bluff\u003c/a>,” a call for Noname to make her message accessible to the masses. Noname responded with “\u003ca href=\"https://www.youtube.com/watch?v=NFp1eW2bihg\">Song 33\u003c/a>,” a track that pretty much asked J. Cole why he was rapping about her, asking her to change her “tone,” when there are far more important issues to be addressed.\u003c/p>\n\u003cp>In the past month, \u003ca href=\"https://www.youtube.com/watch?v=_VDGysJGNoI\">Lil Baby\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Z5HN-4396Jo\">Tee Grizzley\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DWZkjXCU-ds\">Trey Songz\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ramteyfi9bE\">YG\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=JUnc3kl0DcA\">Meek Mill\u003c/a> all dropped songs about police brutality and systematic racism. Wale released a six-song EP, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLHzeg4D5T9v4peshRjOitaZVT9N05Kt2f&src=Linkfire&lId=747b96e4-d374-4dd3-8990-9a4dcab5c737&cId=d3d58fd7-4c47-11e6-9fd0-066c3e7a8751\">The Imperfect Storm\u003c/a>\u003c/em>, which covers those issues and more. DaBaby released a “Black Lives Matter Remix” to his chart-topping song “\u003ca href=\"https://www.youtube.com/watch?v=0Em5cZFocQ0&feature=emb_title\">Rockstar\u003c/a>” featuring Roddy Ricch.\u003c/p>\n\u003cp>And Anderson .Paak crossed off all the boxes on his “Summer Song 2020” bingo card—he put out a song called “\u003ca href=\"https://www.youtube.com/watch?v=TgItkJCm09c\">Lockdown\u003c/a>,” on Juneteenth, that managed to mention COVID, police brutality, looting, slavery, protests \u003cem>and\u003c/em> the unemployment rate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TgItkJCm09c\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">U\u003c/span>p here in the Bay Area, one of the most politically engaged and artistically inclined regions in the country, you already know artists have been getting active.\u003c/p>\n\u003cp>E-40’s new track “\u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\">Give Me 6\u003c/a>” is a musical request that suggests maintaining the proper physical distance for pandemic socializing. Oakland’s Damian Lillard dropped “\u003ca href=\"https://www.youtube.com/watch?v=J1wQ7_h824U\">Blacklist\u003c/a>,” a track about the racism he faces, even as a wealthy African American man. And Berkeley’s Rexx Life Raj released a single about police brutality simply called “\u003ca href=\"https://www.youtube.com/watch?v=VL4VLUSfwg8&feature=youtu.be\">War\u003c/a>”.\u003c/p>\n\u003cp>But it’s the artists who aren’t as popular who’ve really been talking that shit.\u003c/p>\n\u003cp>I saw Oakland’s \u003ca href=\"https://twitter.com/STSpittin\" target=\"_blank\" rel=\"noopener noreferrer\">ST Spittin’\u003c/a> in traffic recently, where he said he had something for me. His latest single “Huey P. Malcolm Martin” features a sample of Stevie Wonder’s “Visions”—and I was sold on it from the first note.\u003c/p>\n\u003cp>https://youtu.be/2VM99IYLF-I\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"https://twitter.com/NettaBrielle\" target=\"_blank\" rel=\"noopener noreferrer\">Netta Brielle\u003c/a> shifted the tempo with her new release, “\u003ca href=\"https://www.youtube.com/watch?v=AU-3Uea4PyI\">Get To You\u003c/a>,” a song that’s more about embracing love than protesting hate—a needed sentiment in these times. Another track using R&B to express emotion during tumult came from Oakland’s \u003ca href=\"https://twitter.com/TalyaPatrick\">Tai Marie\u003c/a>, who recently put out a soulful R&B single titled “\u003ca href=\"https://soundcloud.com/ttaimarie/war-zone\">Warzone\u003c/a>.”\u003c/p>\n\u003cp>Dipping her toes in the classical-piano realm is San Francisco’s \u003ca href=\"https://twitter.com/ImtheJournalist\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Ekeke\u003c/a>, who just put out the song “\u003ca href=\"https://www.instagram.com/p/CByayJUh8qs/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Modern War\u003c/a>.” She says the track is inspired by her upcoming film on African American contributions during WWII at one of the nation’s largest shipyards, right here in Marin. But the words she sings, in her trademark soprano tone, are eerily relevant to today.\u003c/p>\n\u003cp>From Sacramento, Rob Woods’ \u003cem>\u003ca href=\"https://soundcloud.com/therealrobwoods/sets/the-black-tape/s-7dyuknyLjtr\">The Black Tape\u003c/a>\u003c/em> mixes rap lyrics about hope and oppression over R&B vibes, and an undertone of that church feeling throughout the project. (He even incorporates a cold saxophone on the song “Stuck.”) And Pittsburg’s Hotboikal shot the video for “\u003ca href=\"https://www.youtube.com/watch?v=VO1dP7CMy78\" target=\"_blank\" rel=\"noopener noreferrer\">Hands Up, Man Down\u003c/a>” in the \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">middle of a protest march\u003c/a> in Santa Rosa, with lyrics about racial profiling and police brutality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VO1dP7CMy78\u003c/p>\n\u003cp>Sharing that sentiment is Richmond’s \u003ca href=\"https://twitter.com/WallahUmoja\">Wallah Umoja\u003c/a>, who dropped a new video for an older track, \u003ca href=\"https://open.spotify.com/album/7vbwGIkNzDs2PKryN9BFZ0?highlight=spotify:track:3ZPM9hdhw42oKotLM4Zc2N\">Senses\u003c/a>, delivered in a boom-bap cadence. Following that flow is Dom Shalom’s “\u003ca href=\"https://open.spotify.com/album/7HmoIXj4Z0GQhNXdqqrj19?si=FgqfUqSgRDiZnmo79Tx-FA\">The Next\u003c/a>,” a chill vibe that I’d also describe as boom-bap rap.\u003c/p>\n\u003cp>And if you like music that bends genres, Oakland’s Dom Jones came through with soulful jazz-rock for the spirit. Her latest track “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/sayin-nothin\" target=\"_blank\" rel=\"noopener noreferrer\">Sayin’ Nothin’\u003c/a>” is the stuff movie soundtracks are made of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking of movies, the content in Nicholas Easter’s “\u003ca href=\"https://www.youtube.com/watch?v=fKDyDBIOjhs&feature=youtu.be&fbclid=IwAR1AhAh620HVoEkRP5kgQAgHRIl67PQlv0gQ-B_58KHGMhC-ZvWfjerpwog\">Native Tongue\u003c/a>” video isn’t a song as much as it is a compilation of speeches and interviews from the civil rights era to today’s Black Lives Matter movement—featuring the likes of Maya Angelou, Ryan Coogler and Tupac, all layered on top of modern-day footage.\u003c/p>\n\u003cp>Want more spoken-word quotes? \u003ca href=\"https://twitter.com/ClifSoulo\" target=\"_blank\" rel=\"noopener noreferrer\">Clif Soulo\u003c/a> offers a new release titled \u003cem>\u003ca href=\"https://soundcloud.com/clifsoulo/sets/bunchy-carter-grooves/s-YAJYJ0GJAOY\" target=\"_blank\" rel=\"noopener noreferrer\">Bunchy Carter Grooves\u003c/a> \u003c/em>that’s full of clips from interviews with former members of the Black Panther Party.\u003c/p>\n\u003cp>Want something more militant? Oakland’s \u003ca href=\"https://twitter.com/BeastellaAllDat\">Beastella\u003c/a> got a verse from Jay Jonah, and dropped “\u003ca href=\"https://www.youtube.com/watch?v=Snbr-qCpxjY&feature=youtu.be&fbclid=IwAR3PK1zW-v_0moh9V2MUE6rTuIIze6fyTQ15NGdcdCzHgb-QacprRGPR1gs\">1825\u003c/a>.” The track is up there with the most aggressive songs I’ve heard all month, and I’m here for it. As Jay Jonah says on the track: “She Harriet and I’m Nat,” comparing the duo to well-known abolitionist Harriet Tubman and rebellion leader Nat Turner.\u003c/p>\n\u003cp>https://youtu.be/Snbr-qCpxjY\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o yeah, I’ve been listening. I caught the a capella \u003ca href=\"https://twitter.com/caseycopesodope/status/1270886631994613762?s=20\">Twitter\u003c/a> post from San Leandro’s Casey Cope about being a Black man in these times, and I slapped Oaktownsoul’s trippy-hop bass-heavy joint “\u003ca href=\"https://soundcloud.com/oaktownsoul/maskup\">Mask Up\u003c/a>.” I soaked in Gina Madrid’s “\u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=2NYtB9g8VrE&feature=emb_title\">Dame La Mano\u003c/a>” and was reminded the need for unity across different demographics. And through Coco Peila’s track “\u003ca href=\"https://soundcloud.com/cocopeilamusic/coco-peila-whose-world-greennewdeal-prod-hawk-beatz/s-N5s69FMW0Gj\" target=\"_blank\" rel=\"noopener noreferrer\">Whose World?\u003c/a>” I was reminded that in the midst of everything, global warming is still an issue.\u003c/p>\n\u003cp>I listened to Redtone Records’ “\u003ca href=\"https://www.youtube.com/watch?v=8TQuiigys6I&feature=youtu.be&fbclid=IwAR0Gf4iyMU8EYVPksCnr7TP84x8d8WBh-MMVKR3AiiMe4a3mVaVg5QUoWIs\">Right Now\u003c/a>!,” a bouncy jazz track with some New Orleans flavor, out of East Palo Alto. Man, I even listened to \u003ca href=\"https://www.youtube.com/watch?v=6wGk8jZQfQ8&feature=youtu.be&fbclid=IwAR1EBRQ0yc2ZFzL-vonhWVVnsEaITwp8eQtrZ-pkDCnY0fKhu0w-Upn_ZlQ\">We Will Break Free, \u003c/a>written by Byron Au Yong and Aaron Jafferis and performed by an acoustic ensemble over videoconferencing:\u003c/p>\n\u003cblockquote>\u003cp>A body isn’t made for a jail, or a box.\u003cbr>\nA body will defy all the fences, all the locks.\u003cbr>\nWe will break the walls that lock us into cells.\u003cbr>\nWe will break the laws that keep us from ourselves.\u003cbr>\nWe will break free.\u003c/p>\u003c/blockquote>\n\u003cp>Taking in all these songs was like reading reports from a classroom full of students who all got the same assignment. There was no wrong answer. In fact, the only wrong would be \u003cem>not\u003c/em> saying something.\u003c/p>\n\u003cp>Chances are, the real “song of the summer”—dubbed so by the music industry itself—will probably be a pop hit. (I’ve got $10 on something that incorporates that \u003ca href=\"https://www.youtube.com/watch?v=TH_gfaiStm0&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Harry remix\u003c/a>.)\u003c/p>\n\u003cp>It likely won’t be a protest song, or a song of Black celebration, and for sure not Black liberation.\u003c/p>\n\u003cp>In spite of that, there are many artists, all across this nation, making music that documents what it means to be living right now.\u003c/p>\n\u003cp>I hear ya’ll.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "The Pandemic, the Protests and the Police: Songs of the Summer 2020 | KQED",
"description": "The 'Song of the Summer' will probably be some pop hit—but here are the songs really saying something.",
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"headline": "The Pandemic, the Protests and the Police: Songs of the Summer 2020",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t tell you if it’s music for the movement, music for “the moment,” or just music to make money. But I can tell you artists have been working. And I’ve been listening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Between the COVID-19 pandemic, the nationwide protests and the push for defunding the police, a wave of songs has arrived, all of them documenting the beginning of summertime in 2020.\u003c/p>\n\u003cp>Last week, Beyoncé released the track “\u003ca href=\"https://www.youtube.com/watch?v=EJT1m1ele00\">Black Parade\u003c/a>,” a lil’ southern flavor to accompany the Juneteenth holiday. Queen B doubled down on its message of Black empowerment by teaming up with stylist Zerina Akers, who runs the \u003ca href=\"https://www.instagram.com/p/CBn6B4iFkNr/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">@black.owned.everything\u003c/a> page, to create a Black business directory called the \u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Parade Route\u003c/a>.\u003c/p>\n\u003cp>J. Cole and Noname had a back-and-forth, during which Cole dropped “\u003ca href=\"https://www.youtube.com/watch?v=OZa3HyVLimQ\">Snow On The Bluff\u003c/a>,” a call for Noname to make her message accessible to the masses. Noname responded with “\u003ca href=\"https://www.youtube.com/watch?v=NFp1eW2bihg\">Song 33\u003c/a>,” a track that pretty much asked J. Cole why he was rapping about her, asking her to change her “tone,” when there are far more important issues to be addressed.\u003c/p>\n\u003cp>In the past month, \u003ca href=\"https://www.youtube.com/watch?v=_VDGysJGNoI\">Lil Baby\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Z5HN-4396Jo\">Tee Grizzley\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DWZkjXCU-ds\">Trey Songz\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ramteyfi9bE\">YG\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=JUnc3kl0DcA\">Meek Mill\u003c/a> all dropped songs about police brutality and systematic racism. Wale released a six-song EP, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLHzeg4D5T9v4peshRjOitaZVT9N05Kt2f&src=Linkfire&lId=747b96e4-d374-4dd3-8990-9a4dcab5c737&cId=d3d58fd7-4c47-11e6-9fd0-066c3e7a8751\">The Imperfect Storm\u003c/a>\u003c/em>, which covers those issues and more. DaBaby released a “Black Lives Matter Remix” to his chart-topping song “\u003ca href=\"https://www.youtube.com/watch?v=0Em5cZFocQ0&feature=emb_title\">Rockstar\u003c/a>” featuring Roddy Ricch.\u003c/p>\n\u003cp>And Anderson .Paak crossed off all the boxes on his “Summer Song 2020” bingo card—he put out a song called “\u003ca href=\"https://www.youtube.com/watch?v=TgItkJCm09c\">Lockdown\u003c/a>,” on Juneteenth, that managed to mention COVID, police brutality, looting, slavery, protests \u003cem>and\u003c/em> the unemployment rate.\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/TgItkJCm09c'\n title='//www.youtube.com/embed/TgItkJCm09c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">U\u003c/span>p here in the Bay Area, one of the most politically engaged and artistically inclined regions in the country, you already know artists have been getting active.\u003c/p>\n\u003cp>E-40’s new track “\u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\">Give Me 6\u003c/a>” is a musical request that suggests maintaining the proper physical distance for pandemic socializing. Oakland’s Damian Lillard dropped “\u003ca href=\"https://www.youtube.com/watch?v=J1wQ7_h824U\">Blacklist\u003c/a>,” a track about the racism he faces, even as a wealthy African American man. And Berkeley’s Rexx Life Raj released a single about police brutality simply called “\u003ca href=\"https://www.youtube.com/watch?v=VL4VLUSfwg8&feature=youtu.be\">War\u003c/a>”.\u003c/p>\n\u003cp>But it’s the artists who aren’t as popular who’ve really been talking that shit.\u003c/p>\n\u003cp>I saw Oakland’s \u003ca href=\"https://twitter.com/STSpittin\" target=\"_blank\" rel=\"noopener noreferrer\">ST Spittin’\u003c/a> in traffic recently, where he said he had something for me. His latest single “Huey P. Malcolm Martin” features a sample of Stevie Wonder’s “Visions”—and I was sold on it from the first note.\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/2VM99IYLF-I'\n title='//www.youtube.com/embed/2VM99IYLF-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Berkeley’s \u003ca href=\"https://twitter.com/NettaBrielle\" target=\"_blank\" rel=\"noopener noreferrer\">Netta Brielle\u003c/a> shifted the tempo with her new release, “\u003ca href=\"https://www.youtube.com/watch?v=AU-3Uea4PyI\">Get To You\u003c/a>,” a song that’s more about embracing love than protesting hate—a needed sentiment in these times. Another track using R&B to express emotion during tumult came from Oakland’s \u003ca href=\"https://twitter.com/TalyaPatrick\">Tai Marie\u003c/a>, who recently put out a soulful R&B single titled “\u003ca href=\"https://soundcloud.com/ttaimarie/war-zone\">Warzone\u003c/a>.”\u003c/p>\n\u003cp>Dipping her toes in the classical-piano realm is San Francisco’s \u003ca href=\"https://twitter.com/ImtheJournalist\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Ekeke\u003c/a>, who just put out the song “\u003ca href=\"https://www.instagram.com/p/CByayJUh8qs/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Modern War\u003c/a>.” She says the track is inspired by her upcoming film on African American contributions during WWII at one of the nation’s largest shipyards, right here in Marin. But the words she sings, in her trademark soprano tone, are eerily relevant to today.\u003c/p>\n\u003cp>From Sacramento, Rob Woods’ \u003cem>\u003ca href=\"https://soundcloud.com/therealrobwoods/sets/the-black-tape/s-7dyuknyLjtr\">The Black Tape\u003c/a>\u003c/em> mixes rap lyrics about hope and oppression over R&B vibes, and an undertone of that church feeling throughout the project. (He even incorporates a cold saxophone on the song “Stuck.”) And Pittsburg’s Hotboikal shot the video for “\u003ca href=\"https://www.youtube.com/watch?v=VO1dP7CMy78\" target=\"_blank\" rel=\"noopener noreferrer\">Hands Up, Man Down\u003c/a>” in the \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">middle of a protest march\u003c/a> in Santa Rosa, with lyrics about racial profiling and police brutality.\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/VO1dP7CMy78'\n title='//www.youtube.com/embed/VO1dP7CMy78'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sharing that sentiment is Richmond’s \u003ca href=\"https://twitter.com/WallahUmoja\">Wallah Umoja\u003c/a>, who dropped a new video for an older track, \u003ca href=\"https://open.spotify.com/album/7vbwGIkNzDs2PKryN9BFZ0?highlight=spotify:track:3ZPM9hdhw42oKotLM4Zc2N\">Senses\u003c/a>, delivered in a boom-bap cadence. Following that flow is Dom Shalom’s “\u003ca href=\"https://open.spotify.com/album/7HmoIXj4Z0GQhNXdqqrj19?si=FgqfUqSgRDiZnmo79Tx-FA\">The Next\u003c/a>,” a chill vibe that I’d also describe as boom-bap rap.\u003c/p>\n\u003cp>And if you like music that bends genres, Oakland’s Dom Jones came through with soulful jazz-rock for the spirit. Her latest track “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/sayin-nothin\" target=\"_blank\" rel=\"noopener noreferrer\">Sayin’ Nothin’\u003c/a>” is the stuff movie soundtracks are made of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking of movies, the content in Nicholas Easter’s “\u003ca href=\"https://www.youtube.com/watch?v=fKDyDBIOjhs&feature=youtu.be&fbclid=IwAR1AhAh620HVoEkRP5kgQAgHRIl67PQlv0gQ-B_58KHGMhC-ZvWfjerpwog\">Native Tongue\u003c/a>” video isn’t a song as much as it is a compilation of speeches and interviews from the civil rights era to today’s Black Lives Matter movement—featuring the likes of Maya Angelou, Ryan Coogler and Tupac, all layered on top of modern-day footage.\u003c/p>\n\u003cp>Want more spoken-word quotes? \u003ca href=\"https://twitter.com/ClifSoulo\" target=\"_blank\" rel=\"noopener noreferrer\">Clif Soulo\u003c/a> offers a new release titled \u003cem>\u003ca href=\"https://soundcloud.com/clifsoulo/sets/bunchy-carter-grooves/s-YAJYJ0GJAOY\" target=\"_blank\" rel=\"noopener noreferrer\">Bunchy Carter Grooves\u003c/a> \u003c/em>that’s full of clips from interviews with former members of the Black Panther Party.\u003c/p>\n\u003cp>Want something more militant? Oakland’s \u003ca href=\"https://twitter.com/BeastellaAllDat\">Beastella\u003c/a> got a verse from Jay Jonah, and dropped “\u003ca href=\"https://www.youtube.com/watch?v=Snbr-qCpxjY&feature=youtu.be&fbclid=IwAR3PK1zW-v_0moh9V2MUE6rTuIIze6fyTQ15NGdcdCzHgb-QacprRGPR1gs\">1825\u003c/a>.” The track is up there with the most aggressive songs I’ve heard all month, and I’m here for it. As Jay Jonah says on the track: “She Harriet and I’m Nat,” comparing the duo to well-known abolitionist Harriet Tubman and rebellion leader Nat Turner.\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/Snbr-qCpxjY'\n title='//www.youtube.com/embed/Snbr-qCpxjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o yeah, I’ve been listening. I caught the a capella \u003ca href=\"https://twitter.com/caseycopesodope/status/1270886631994613762?s=20\">Twitter\u003c/a> post from San Leandro’s Casey Cope about being a Black man in these times, and I slapped Oaktownsoul’s trippy-hop bass-heavy joint “\u003ca href=\"https://soundcloud.com/oaktownsoul/maskup\">Mask Up\u003c/a>.” I soaked in Gina Madrid’s “\u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=2NYtB9g8VrE&feature=emb_title\">Dame La Mano\u003c/a>” and was reminded the need for unity across different demographics. And through Coco Peila’s track “\u003ca href=\"https://soundcloud.com/cocopeilamusic/coco-peila-whose-world-greennewdeal-prod-hawk-beatz/s-N5s69FMW0Gj\" target=\"_blank\" rel=\"noopener noreferrer\">Whose World?\u003c/a>” I was reminded that in the midst of everything, global warming is still an issue.\u003c/p>\n\u003cp>I listened to Redtone Records’ “\u003ca href=\"https://www.youtube.com/watch?v=8TQuiigys6I&feature=youtu.be&fbclid=IwAR0Gf4iyMU8EYVPksCnr7TP84x8d8WBh-MMVKR3AiiMe4a3mVaVg5QUoWIs\">Right Now\u003c/a>!,” a bouncy jazz track with some New Orleans flavor, out of East Palo Alto. Man, I even listened to \u003ca href=\"https://www.youtube.com/watch?v=6wGk8jZQfQ8&feature=youtu.be&fbclid=IwAR1EBRQ0yc2ZFzL-vonhWVVnsEaITwp8eQtrZ-pkDCnY0fKhu0w-Upn_ZlQ\">We Will Break Free, \u003c/a>written by Byron Au Yong and Aaron Jafferis and performed by an acoustic ensemble over videoconferencing:\u003c/p>\n\u003cblockquote>\u003cp>A body isn’t made for a jail, or a box.\u003cbr>\nA body will defy all the fences, all the locks.\u003cbr>\nWe will break the walls that lock us into cells.\u003cbr>\nWe will break the laws that keep us from ourselves.\u003cbr>\nWe will break free.\u003c/p>\u003c/blockquote>\n\u003cp>Taking in all these songs was like reading reports from a classroom full of students who all got the same assignment. There was no wrong answer. In fact, the only wrong would be \u003cem>not\u003c/em> saying something.\u003c/p>\n\u003cp>Chances are, the real “song of the summer”—dubbed so by the music industry itself—will probably be a pop hit. (I’ve got $10 on something that incorporates that \u003ca href=\"https://www.youtube.com/watch?v=TH_gfaiStm0&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Harry remix\u003c/a>.)\u003c/p>\n\u003cp>It likely won’t be a protest song, or a song of Black celebration, and for sure not Black liberation.\u003c/p>\n\u003cp>In spite of that, there are many artists, all across this nation, making music that documents what it means to be living right now.\u003c/p>\n\u003cp>I hear ya’ll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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