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"content": "\u003cfigure id=\"attachment_13914437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg\" alt=\"A man in a ballcap sits in front of bamboo shoots and displays a book and pins\" width=\"800\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-768x852.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Señor Gigio holds up his comic book and shows off his pins as he sits at Club Mallard in Albany. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To escape the news headlines about mass shootings, the surging cost of living, and celebrity court cases, I’ve once again turned to music to take me out of this world and into another dimension.\u003c/p>\n\u003cp>After listening to his latest album, \u003ca href=\"https://senorgigio.bandcamp.com/album/funklore\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Funklore\u003c/em>\u003c/a>, and reading the accompanying comic book titled \u003cem>Super Psychic Kitty Meets the Mummified Pharaoh\u003c/em>, it’s clear that rapper and illustrator \u003ca href=\"https://www.instagram.com/senorgigio/\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio\u003c/a> is tapped into a whole ‘nother cosmos.\u003c/p>\n\u003cp>His music is boom-bap “lyrical miracle” rap mixed with George Clinton space-age funk, with nods to internet conspiracy theories and songs that would make Digital Underground proud. It’s like Señor Gigio reads ancient texts while listening to Hieroglyphics—he even has a song with Hiero’s Opio.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Señor Gigio x Opio - \"The New Narrative\" (Official Music Video)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/2tdepGk55xs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Raised in Fairfield and now an East Bay resident, Señor Gigio brims with that Northern California entrepreneurial creativity. He edits his own music videos, designs his own clothes, and even has a side hustle with his wife of selling homemade pins at events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But on top of everything, he’s really, really deep into hip-hop.\u003c/p>\n\u003cp>Influenced by wordsmiths of the past, Señor Gigio’s clear delivery and clever lyrics go from down-to-Earth references about the local landscape to the presence of extraterrestrial beings. And he’s clearly a fan of the Knights of the Round Table.\u003c/p>\n\u003cp class=\"p1\">“Modern day King Arthur, in the heart of the Bay/Sitting on the dock, like a lighthouse over the harbor,” he says on the track “A Knight’s Quest 2 Quest” featuring Johnny Venetti.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xky-xzdhCDg\u003c/p>\n\u003cp>A storyteller by nature, he can also make songs that are more grounded, like “Hair 2 Tha Throne,” a relatable track for anyone dealing with the pain of being a hairy person who’s simultaneously bald-headed.\u003c/p>\n\u003cp>On Saturday, June 11, Señor Gigio brings his otherworldly storytelling to our galaxy when he headlines a free show at Oakland’s 7th West.\u003c/p>\n\u003cp>He’ll be joined by a long list of talented artists from the soil, including \u003ca href=\"https://www.instagram.com/its1amsomewhere/\" target=\"_blank\" rel=\"noopener noreferrer\">1 A.M.\u003c/a>, \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nán Fiero\u003c/a>, \u003ca href=\"https://www.instagram.com/isaiahwitdahair/\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Mostafa\u003c/a>, \u003ca href=\"https://www.instagram.com/vj.gabi/\" target=\"_blank\" rel=\"noopener noreferrer\">VJ Gabi\u003c/a>, and the duo of \u003ca href=\"https://www.instagram.com/professagabel/\">Professa Gabel\u003c/a> & \u003ca href=\"https://www.instagram.com/cyphfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyphfour\u003c/a> who perform under the name \u003ca href=\"https://www.instagram.com/curbside415/\" target=\"_blank\" rel=\"noopener noreferrer\">Curbside.\u003c/a> There will also be two live beat production sets by \u003ca href=\"https://www.instagram.com/b.i.lectric/\" target=\"_blank\" rel=\"noopener noreferrer\">B.i.letric\u003c/a> and \u003ca href=\"https://www.instagram.com/celadorbeats/\" target=\"_blank\" rel=\"noopener noreferrer\">Celador Beats\u003c/a>. 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"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>You probably remember her iconic call-and-response with her brother E-40 in “Sprinkle Me” or her voice on the chorus of “Captain Save a Hoe.” But Suga-T has lived multiple lives since getting her start with her family rap group, The Click, in the early ’90s.\u003c/p>\n\u003cp>She’s continued a prolific recording career (2020’s \u003ci>The Rapademic\u003c/i> finds her high-energy rhymes in top form). And she’s also spent the last three decades as a self-help author and advocate for women and girls since becoming a mom at the age of 16. To that end, she runs a mentorship and professional development program called \u003ca href=\"https://www.sprinklemelearningacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sprinkle Me Learning Academy\u003c/a>. [aside postid='arts_13906176']\u003c/p>\n\u003cp>Suga-T is open about being a survivor of gun violence and domestic violence, as well as a grandmother of an autistic child. Now, she focuses her energy on uplifting others in similar situations by organizing events around autism awareness, healing and education through her platform \u003ca href=\"https://hermuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Her Museum\u003c/a>.\u003c/p>\n\u003cp>“My goal is to help them turn their pain into peace, passion, prosperity and purpose,” she says in a recent Zoom call from her office while an RIAA Gold Record plaque hangs behind her.\u003c/p>\n\u003cp>“If I had a mentor like me, I probably wouldn’t have made so many mistakes and bad choices,” she says. “That’s part of the reason why I enjoy the opportunity to do it and also to help others who want to do the same type of work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her Museum’s next event takes place May 27 and 28 at 233 Eddy St. in San Francisco, and features artwork, workshops and events honoring Black women’s contributions to music and culture. Among the honorees are San Francisco Mayor London Breed, singer Martha Wash (of Weather Girls fame) and actress Terri J. Vaught Riley, all of whom are San Francisco natives.\u003c/p>\n\u003cp>Suga-T says she wants to spotlight positive Black role models for young girls, and to preserve an artistic legacy that often gets sidelined in the music industry. “There is a very biased element [against] the older generation of women in hip-hop, and especially women in the Bay,” says the artist, who is 51 years old. [aside postid='arts_13912879']\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",
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"excerpt": "The event is part of her many initiatives to empower Black women and girls. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably remember her iconic call-and-response with her brother E-40 in “Sprinkle Me” or her voice on the chorus of “Captain Save a Hoe.” But Suga-T has lived multiple lives since getting her start with her family rap group, The Click, in the early ’90s.\u003c/p>\n\u003cp>She’s continued a prolific recording career (2020’s \u003ci>The Rapademic\u003c/i> finds her high-energy rhymes in top form). And she’s also spent the last three decades as a self-help author and advocate for women and girls since becoming a mom at the age of 16. To that end, she runs a mentorship and professional development program called \u003ca href=\"https://www.sprinklemelearningacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sprinkle Me Learning Academy\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suga-T is open about being a survivor of gun violence and domestic violence, as well as a grandmother of an autistic child. Now, she focuses her energy on uplifting others in similar situations by organizing events around autism awareness, healing and education through her platform \u003ca href=\"https://hermuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Her Museum\u003c/a>.\u003c/p>\n\u003cp>“My goal is to help them turn their pain into peace, passion, prosperity and purpose,” she says in a recent Zoom call from her office while an RIAA Gold Record plaque hangs behind her.\u003c/p>\n\u003cp>“If I had a mentor like me, I probably wouldn’t have made so many mistakes and bad choices,” she says. “That’s part of the reason why I enjoy the opportunity to do it and also to help others who want to do the same type of work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her Museum’s next event takes place May 27 and 28 at 233 Eddy St. in San Francisco, and features artwork, workshops and events honoring Black women’s contributions to music and culture. Among the honorees are San Francisco Mayor London Breed, singer Martha Wash (of Weather Girls fame) and actress Terri J. Vaught Riley, all of whom are San Francisco natives.\u003c/p>\n\u003cp>Suga-T says she wants to spotlight positive Black role models for young girls, and to preserve an artistic legacy that often gets sidelined in the music industry. “There is a very biased element [against] the older generation of women in hip-hop, and especially women in the Bay,” says the artist, who is 51 years old. \u003c/p>\u003c/div>",
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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": "Remembering Lucky Three Seven’s Jun Anabo, a ‘Pare’ for All of Oakland",
"headTitle": "Remembering Lucky Three Seven’s Jun Anabo, a ‘Pare’ for All of Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Artgel Fernando “Jun” Anabo Jr., the co-owner of one of Oakland’s most popular Filipino restaurants, was shot and killed last Wednesday night. He had been standing in front of the restaurant, \u003c/span>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">\u003cspan style=\"font-weight: 400\">Lucky Three Seven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with his 11-year-old son Kiah \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Co-owner-of-beloved-Oakland-Filipino-restaurant-17184101.php#photo-22498128\">\u003cspan style=\"font-weight: 400\">when gunfire erupted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Anabo died at Highland Hospital shortly thereafter. He was 39 years old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in Oakland, Anabo was a sound engineer by trade before getting into the restaurant business. He loved to blast hip-hop and throw big, rollicking block parties in the stretch of East Oakland where the restaurant’s bright-red facade is located, at the corner of Fruitvale and Brookdale avenues. Friends and family members describe him as an incredible father and a neighborhood fixture—the type of person who was always willing to lend a hand, who always put his Oakland community and Filipino community first. You’d rarely ever see him without a big smile on his face.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I \u003c/span>\u003ca href=\"https://eastbayexpress.com/feeling-lucky-1/\">\u003cspan style=\"font-weight: 400\">reviewed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Lucky Three Seven a few months after it opened in 2013, I wrote that Anabo had “an easy swagger and a street-hawker’s gift of gab.” Over the years, every time I called to ask about some news about the restaurant, Anabo would say at least two or three things that made me laugh out loud. “What are you, a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">saint\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?” he blurted one time, when I told him he shouldn’t try to give me free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For several months, Anabo was mildly obsessed with the fact that he didn’t know what I looked like, since I’d only eaten at the restaurant as an anonymous critic. “Was that you? Were you just here?” he would text me out of the blue. “Did you just pick up an order of lumpia?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mark Legaspi, Anabo’s cousin and fellow Lucky Three Seven co-owner, says that was just the kind of energy that he always had. Anabo was the youngest in their group of cousins who grew up together, inseparable, in Oakland and Alameda. As a kid, he was a “jokester,” Legaspi says. A child of the ’80s, he loved \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Karate Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> more than anything—he would dress up in a gi and imitate the karate moves from the movie.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later, when they became partners at Lucky Three Seven, Legaspi was more involved with the cooking and recipe development, while Anabo handled the finances and business operations. The two would sometimes butt heads, as cousins do, but never argued for long. What Legaspi admired most was his cousin’s “crazy mind” and how well he worked with his hands—the way Anabo was able to MacGyver homemade designs for the restaurant, like its custom sound system, which he built using a car stereo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913841\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg\" alt=\"A memorial to Jun Anaba, with flowers, candles and photos, set up outside Lucky Three Seven restaurant.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A memorial to Anabo set up in front of Lucky Three Seven. The restaurant was closed over the weekend as Anabo’s family grieved his death. \u003ccite>(Brian Watt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edward Wooley, a.k.a. \u003c/span>\u003ca href=\"https://www.instagram.com/chefsmelly/\">\u003cspan style=\"font-weight: 400\">Chef Smelly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says he met Anabo about six years ago. After seeing each other on Instagram for years, as part of the broader Oakland food community, Wooley finally stopped by Lucky Three Seven to introduce himself. “They accepted me as a brother,” Wooley says of Anabo and his crew. Every time he came by to pick up food, Anabo and Legaspi would sit him down inside the restaurant’s cramped interior and offer him a shot of Hennessy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would have been the same for me, if I’d ever had the chance to introduce myself to Anabo properly, Wooley tells me. He would have treated me like family too: “He’d say, ‘Come on in! Come have a shot! Do you want to smoke a blunt?’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was just a nice, genuine dude,” Wooley says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo and Legaspi were also pioneers in the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/filipino-food-restaurants-hayward-union-city-16969628.php\">\u003cspan style=\"font-weight: 400\">East Bay’s now-thriving Filipino food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The restaurant predated the current wave of trendy Filipino restaurants that have crossed over into mainstream popularity, bringing old-school “turo-turo” (or “point-point”) style steam table fare to a new audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Lucky Three Seven became an introduction for Oakland to real Filipino food,” says Filipino American rapper \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener noreferrer\">Dustin “Nump” Perfetto\u003c/a>, a close friend of Anabo’s. “It’s a big staple in The Town, and it really helped other Filipino brands get exposure.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, the restaurant is a place where purists can find a homey, genuinely pungent version of oxtail kare-kare, but it’s also where newcomers to the cuisine can enjoy crowd pleasers like the spicy G-Fire wings or the jumbo-size lumpia. It has always been a true neighborhood joint, beloved by folks of all different cultural backgrounds. (“I think Black people went there the most,” Wooley says.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913850\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/jun_son2.jpg\" alt=\"A boy holds a wad of cash underneath his chin while his father looks on to the side.\" width=\"621\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2-160x199.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Anabo and his son Kiah were like best friends. \u003ccite>(Photo courtesy of Mark Legaspi and family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Much of the reason why the restaurant has been embraced by so many different communities had to do with Anabo—gregarious, charismatic, a man of the people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was my ‘pare,’ my partner, a day-one supporter of anything I did,” says Perfetto, using the Tagalog term for a close male friend. “His love was so big; this boy had the biggest heart. I’ve never seen him not help another person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why Anabo came up with the idea of having an entire day every year, right before Christmas, when Lucky Three Seven would give away free food to the community. It’s why the restaurant routinely collected donations of school supplies to give away to Oakland youth. And, Perfetto says, it’s also why Anabo would talk all the time about how much he wanted Filipinos and Filipino Americans to come together—“uniting so the culture could blow the fuck up.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was for the hood, for the homies,” Perfetto says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“’What does this business do for the people?’” says Evan Kidera, co-owner of the Filipino American fusion burrito spot \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was close with both Anabo and Legaspi. “That’s how he lived his life.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Dustin 'Nump' Perfetto\"]“[Jun’s] love was so big … I’ve never seen him not help another person.”[/pullquote]Co Pollard, who runs a barbecue and \u003c/span>\u003ca href=\"https://eastbayexpress.com/east-oaklands-grilled-links-kings-1/\">\u003cspan style=\"font-weight: 400\">grilled links business\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> called \u003c/span>\u003ca href=\"https://www.instagram.com/hotdogco/\">\u003cspan style=\"font-weight: 400\">Hotdogco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, first met Anabo as a Lucky Three Seven customer. Soon, the two began meeting up at the local Restaurant Depot to do their shopping, talk about how business was going and “swap education,” Pollard says. As it turns out, his son and Anabo’s son Kiah are good friends who have been in the same class since kindergarten—the running joke among the teachers was that if you had Lucky Three Seven and Hotdogco in the same class, you could expect to get the hook-up with delicious food every day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Pollard, that’s the deepest tragedy of Anabo’s death. “I’m just torn up for his son,” Pollard says. “The bond they had, everybody could see it. He was his best friend.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Everyone who knew Anabo talked about how great of a dad he was, and how close the father and son were. “His son was with him, always. You knew his son was his world,” Señor Sisig’s Kidera says. “That’s the next level of heartbreak.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo’s family has set up a \u003c/span>\u003ca href=\"https://www.gofundme.com/f/my-brothers-wish-for-kiah?utm_campaign=p_cp+share-sheet&utm_medium=copy_link_all&utm_source=customer\">\u003cspan style=\"font-weight: 400\">GoFundMe fundraiser\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to provide for Kiah’s future, setting a target goal of $20,000. As of this posting, it has received more than $95,000 in donations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13901303,arts_13900855,arts_13898436']For now, Lucky Three Seven has closed its doors as Anabo’s family members recover from the shock of his death. “We have entered a time of uncertainty,” the restaurant wrote in an \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cdu4mo2urNE/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “And although Jun would want us to keep it moving and keep it pushing … we find ourselves lost without him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant remained closed over the weekend, with a small memorial for Anabo covered with flowers and candles set up in front. Meanwhile, the investigation into Anabo’s shooting is ongoing, and the Oakland Police Department has yet to make any arrests.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Legaspi, for his part, vows to honor his cousin’s memory by making Lucky Three Seven even bigger and better. “I’m going to make [Jun] proud,” Legaspi says. “I’m going to keep these doors open. And everything I make, it’s going to be with me and his son. So his son’s going to be taken care of.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Alan Chazaro contributed reporting for this story.\u003c/span>\u003c/i>\u003c/p>\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.instagram.com/luckythreeseven/\">Lucky Three Seven\u003c/a> is located at 2868 Fruitvale Ave. in Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Artgel Fernando “Jun” Anabo Jr., the co-owner of one of Oakland’s most popular Filipino restaurants, was shot and killed last Wednesday night. He had been standing in front of the restaurant, \u003c/span>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">\u003cspan style=\"font-weight: 400\">Lucky Three Seven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with his 11-year-old son Kiah \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Co-owner-of-beloved-Oakland-Filipino-restaurant-17184101.php#photo-22498128\">\u003cspan style=\"font-weight: 400\">when gunfire erupted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Anabo died at Highland Hospital shortly thereafter. He was 39 years old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in Oakland, Anabo was a sound engineer by trade before getting into the restaurant business. He loved to blast hip-hop and throw big, rollicking block parties in the stretch of East Oakland where the restaurant’s bright-red facade is located, at the corner of Fruitvale and Brookdale avenues. Friends and family members describe him as an incredible father and a neighborhood fixture—the type of person who was always willing to lend a hand, who always put his Oakland community and Filipino community first. You’d rarely ever see him without a big smile on his face.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I \u003c/span>\u003ca href=\"https://eastbayexpress.com/feeling-lucky-1/\">\u003cspan style=\"font-weight: 400\">reviewed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Lucky Three Seven a few months after it opened in 2013, I wrote that Anabo had “an easy swagger and a street-hawker’s gift of gab.” Over the years, every time I called to ask about some news about the restaurant, Anabo would say at least two or three things that made me laugh out loud. “What are you, a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">saint\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?” he blurted one time, when I told him he shouldn’t try to give me free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For several months, Anabo was mildly obsessed with the fact that he didn’t know what I looked like, since I’d only eaten at the restaurant as an anonymous critic. “Was that you? Were you just here?” he would text me out of the blue. “Did you just pick up an order of lumpia?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mark Legaspi, Anabo’s cousin and fellow Lucky Three Seven co-owner, says that was just the kind of energy that he always had. Anabo was the youngest in their group of cousins who grew up together, inseparable, in Oakland and Alameda. As a kid, he was a “jokester,” Legaspi says. A child of the ’80s, he loved \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Karate Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> more than anything—he would dress up in a gi and imitate the karate moves from the movie.\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\">Later, when they became partners at Lucky Three Seven, Legaspi was more involved with the cooking and recipe development, while Anabo handled the finances and business operations. The two would sometimes butt heads, as cousins do, but never argued for long. What Legaspi admired most was his cousin’s “crazy mind” and how well he worked with his hands—the way Anabo was able to MacGyver homemade designs for the restaurant, like its custom sound system, which he built using a car stereo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913841\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg\" alt=\"A memorial to Jun Anaba, with flowers, candles and photos, set up outside Lucky Three Seven restaurant.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A memorial to Anabo set up in front of Lucky Three Seven. The restaurant was closed over the weekend as Anabo’s family grieved his death. \u003ccite>(Brian Watt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edward Wooley, a.k.a. \u003c/span>\u003ca href=\"https://www.instagram.com/chefsmelly/\">\u003cspan style=\"font-weight: 400\">Chef Smelly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says he met Anabo about six years ago. After seeing each other on Instagram for years, as part of the broader Oakland food community, Wooley finally stopped by Lucky Three Seven to introduce himself. “They accepted me as a brother,” Wooley says of Anabo and his crew. Every time he came by to pick up food, Anabo and Legaspi would sit him down inside the restaurant’s cramped interior and offer him a shot of Hennessy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would have been the same for me, if I’d ever had the chance to introduce myself to Anabo properly, Wooley tells me. He would have treated me like family too: “He’d say, ‘Come on in! Come have a shot! Do you want to smoke a blunt?’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was just a nice, genuine dude,” Wooley says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo and Legaspi were also pioneers in the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/filipino-food-restaurants-hayward-union-city-16969628.php\">\u003cspan style=\"font-weight: 400\">East Bay’s now-thriving Filipino food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The restaurant predated the current wave of trendy Filipino restaurants that have crossed over into mainstream popularity, bringing old-school “turo-turo” (or “point-point”) style steam table fare to a new audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Lucky Three Seven became an introduction for Oakland to real Filipino food,” says Filipino American rapper \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener noreferrer\">Dustin “Nump” Perfetto\u003c/a>, a close friend of Anabo’s. “It’s a big staple in The Town, and it really helped other Filipino brands get exposure.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, the restaurant is a place where purists can find a homey, genuinely pungent version of oxtail kare-kare, but it’s also where newcomers to the cuisine can enjoy crowd pleasers like the spicy G-Fire wings or the jumbo-size lumpia. It has always been a true neighborhood joint, beloved by folks of all different cultural backgrounds. (“I think Black people went there the most,” Wooley says.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913850\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/jun_son2.jpg\" alt=\"A boy holds a wad of cash underneath his chin while his father looks on to the side.\" width=\"621\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2-160x199.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Anabo and his son Kiah were like best friends. \u003ccite>(Photo courtesy of Mark Legaspi and family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Much of the reason why the restaurant has been embraced by so many different communities had to do with Anabo—gregarious, charismatic, a man of the people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was my ‘pare,’ my partner, a day-one supporter of anything I did,” says Perfetto, using the Tagalog term for a close male friend. “His love was so big; this boy had the biggest heart. I’ve never seen him not help another person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why Anabo came up with the idea of having an entire day every year, right before Christmas, when Lucky Three Seven would give away free food to the community. It’s why the restaurant routinely collected donations of school supplies to give away to Oakland youth. And, Perfetto says, it’s also why Anabo would talk all the time about how much he wanted Filipinos and Filipino Americans to come together—“uniting so the culture could blow the fuck up.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was for the hood, for the homies,” Perfetto says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“’What does this business do for the people?’” says Evan Kidera, co-owner of the Filipino American fusion burrito spot \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was close with both Anabo and Legaspi. “That’s how he lived his life.”\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>Co Pollard, who runs a barbecue and \u003c/span>\u003ca href=\"https://eastbayexpress.com/east-oaklands-grilled-links-kings-1/\">\u003cspan style=\"font-weight: 400\">grilled links business\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> called \u003c/span>\u003ca href=\"https://www.instagram.com/hotdogco/\">\u003cspan style=\"font-weight: 400\">Hotdogco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, first met Anabo as a Lucky Three Seven customer. Soon, the two began meeting up at the local Restaurant Depot to do their shopping, talk about how business was going and “swap education,” Pollard says. As it turns out, his son and Anabo’s son Kiah are good friends who have been in the same class since kindergarten—the running joke among the teachers was that if you had Lucky Three Seven and Hotdogco in the same class, you could expect to get the hook-up with delicious food every day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Pollard, that’s the deepest tragedy of Anabo’s death. “I’m just torn up for his son,” Pollard says. “The bond they had, everybody could see it. He was his best friend.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Everyone who knew Anabo talked about how great of a dad he was, and how close the father and son were. “His son was with him, always. You knew his son was his world,” Señor Sisig’s Kidera says. “That’s the next level of heartbreak.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo’s family has set up a \u003c/span>\u003ca href=\"https://www.gofundme.com/f/my-brothers-wish-for-kiah?utm_campaign=p_cp+share-sheet&utm_medium=copy_link_all&utm_source=customer\">\u003cspan style=\"font-weight: 400\">GoFundMe fundraiser\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to provide for Kiah’s future, setting a target goal of $20,000. As of this posting, it has received more than $95,000 in donations.\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>For now, Lucky Three Seven has closed its doors as Anabo’s family members recover from the shock of his death. “We have entered a time of uncertainty,” the restaurant wrote in an \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cdu4mo2urNE/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “And although Jun would want us to keep it moving and keep it pushing … we find ourselves lost without him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant remained closed over the weekend, with a small memorial for Anabo covered with flowers and candles set up in front. Meanwhile, the investigation into Anabo’s shooting is ongoing, and the Oakland Police Department has yet to make any arrests.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Legaspi, for his part, vows to honor his cousin’s memory by making Lucky Three Seven even bigger and better. “I’m going to make [Jun] proud,” Legaspi says. “I’m going to keep these doors open. And everything I make, it’s going to be with me and his son. So his son’s going to be taken care of.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Alan Chazaro contributed reporting for this story.\u003c/span>\u003c/i>\u003c/p>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">Lucky Three Seven\u003c/a> is located at 2868 Fruitvale Ave. in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display",
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"content": "\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>[aside postID='arts_13825052']The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, 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800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg 800w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-18-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "See Goapele, Stunnaman02, Kamaiyah, Symba and more at the Lake Merritt bandstand. ",
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"title": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display | KQED",
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"headline": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-10-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-9-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-9.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-8-1-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-7-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-18-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Kendrick's Most Important Song That No One's Talking About",
"headTitle": "Kendrick’s Most Important Song That No One’s Talking About | KQED",
"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\">W\u003c/span>ith Kendrick Lamar about to drop his fifth studio album, \u003ci>Mr. Morale and the Big Steppers\u003c/i>, it’s the perfect time to argue about his most significant song.\u003c/p>\n\u003cp>In the half decade since Kendrick dropped \u003cem>Damn\u003c/em>, fans have been left to revisit old tracks repeatedly during his hiatus. Which is fitting, because one of Kendrick Lamar’s greatest gifts is going back and revisiting—or rather, revising—his earlier music.\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>K-dot is a master of retelling the same story again and again, but on a larger level each time. If you listen closely, the arc of his musical output shows that refining and retelling your story, over and over, is an important aspect of growth, both as an artist and a human.\u003c/p>\n\u003cp>The king MC from Compton has done it with his “The Heart” series, often using that title as a jumpoff to spaz and let loose on the issues he’s dealing with at the time of recording. He dropped the fifth entry in this series this past Sunday just days before his full album release, as he’s done in the past. (In the video, he uses deepfake technology to morph into the likeness of Kobe, Nipsey and more.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/uAPUkgeiFVY\u003c/p>\n\u003cp>He’s also revisited, or remixed, “She Needs Me,” “P&P,” and “Vanity Slaves,” among others. Which in art, especially in hip-hop, isn’t new, revolutionary, deep, or profound. Old art gets remixed everyday, B.\u003c/p>\n\u003cp>But the act of revising and revisiting, expanding and expounding on a piece of art—it’s seen more often in other mediums. Poets famously revisit concepts, as do comedians. Thelonious Monk reportedly wrote the jazz standard “\u003ca href=\"https://www.npr.org/2000/11/20/1114262/npr-100-i-round-midnight-i\" target=\"_blank\" rel=\"noopener noreferrer\">Round Midnight\u003c/a>” as a teen, and played thousands of renditions of it his whole life. Issa Rae created her idea of an awkward Black girl first as \u003ca href=\"https://youtu.be/nIVa9lxkbus\" target=\"_blank\" rel=\"noopener noreferrer\">a YouTube series\u003c/a>, and from that came \u003ca href=\"https://www.simonandschuster.com/books/The-Misadventures-of-Awkward-Black-Girl/Issa-Rae/9781476749099\" target=\"_blank\" rel=\"noopener noreferrer\">a bestselling memoir\u003c/a>, the hit show \u003cem>\u003ca href=\"https://www.kqed.org/pop/40693/how-issa-raes-insecure-is-leading-a-quiet-revolution-in-television\" target=\"_blank\" rel=\"noopener noreferrer\">Insecure\u003c/a>\u003c/em> and more.\u003c/p>\n\u003cp>Kendrick, too, has managed to work and rework one specific concept, and we’ve watched it grow from a couple of lines, to a song, to a concept album and signature aspect of his artwork.\u003c/p>\n\u003cp>So let’s be clear: I’m here to tell you why the track “Average Joe,” from Kendrick Lamar’s 2010 \u003cem>Overly Dedicated\u003c/em> \u003cem>EP\u003c/em>, is his most important song.\u003c/p>\n\u003cfigure id=\"attachment_13913174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg\" alt=\"A young Black man holds an analog camera in the photo pit of a large arena event.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar attends the 2018 BET Experience Concert at L.A. Live on June 22, 2018 in Los Angeles, California. \u003ccite>(Ser Baffo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">N\u003c/span>o, it’s not his highest charting song (“Humble”), nor his most famous (“Alright”). It’s not the one that gets the party turnt (“Michael Jordan”). I’m not taking away from his collaborations with Bono or Beyoncé, and definitely not the voice of Tupac Shakur (“Mortal Man”) or the song that President Obama said was the best song of 2015 (“How Much a Dollar Cost”).\u003c/p>\n\u003cp>Kenny’s catalog boasts songs with Travis and Drake that have been played so many times it’d be torture to hear them again. The Black Hippy tracks are dope, and despite his impending departure from their shared record label, Top Dawg Entertainment, I hope we get more collaborations from him and Ab-Soul, Jay Rock and Schoolboy Q. (Hell, even if we just get \u003ca href=\"https://youtu.be/Z-48u_uWMHY?t=130\" target=\"_blank\" rel=\"noopener noreferrer\">that song from the opening of the “Alright” video\u003c/a>, I’d be happy.)\u003c/p>\n\u003cp>Kendrick’s career is decorated with honors and accolades, from executive-producing the \u003cem>Black Panther\u003c/em> soundtrack to performing at this year’s Dr. Dre-led Super Bowl halftime performance. I mean, the guy won a freaking Pulitzer for \u003cem>DAMN\u003c/em>—a Pulitzer for \u003cem>spitting rhymes\u003c/em>—did we even know that was possible?\u003c/p>\n\u003cp>[aside postID='arts_13865026']And even in failure, like losing a Grammy to \u003ca href=\"https://www.gawker.com/macklemore-is-a-ho-bag-1509862810\" target=\"_blank\" rel=\"noopener noreferrer\">some white guy from Seattle\u003c/a>, Kendrick won our hearts—and proved why the act of reworking your craft is important.\u003c/p>\n\u003cp>On the novel-like album \u003cem>Good Kid, M.A.A.D City\u003c/em>, Kendrick is a bystander exploring the dichotomy of good and evil in his community, using clever lyrics recited over drums that punch like Kimbo Slice.\u003c/p>\n\u003cp>He describes his transformation as an outside observer on the track “m.A.A.D City”:\u003c/p>\n\u003cp>\u003cem>Seen a light-skinned nigga with his brains blown out\u003cbr>\nAt the same burger stand where (redacted) hangs out\u003cbr>\nNow, this is not a tape recorder saying that he did it\u003cbr>\nBut ever since that day, I was lookin’ at him different\u003c/em>\u003c/p>\n\u003cp>And then, later in the song, he gets pulled into this world of sinister behavior:\u003c/p>\n\u003cp>\u003cem>My pops said I needed a job, I thought I believed him\u003cbr>\nSecurity guard for a month and ended up leavin’\u003cbr>\nIn fact, I got fired, ’cause I was inspired by all of my friends\u003cbr>\nTo stage a robbery the third Saturday I clocked in\u003c/em>\u003c/p>\n\u003cp>Kendrick, a neutral narrator who gets influenced by his associates, has been this guy for some time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EjKlzdnoBGg\u003c/p>\n\u003cp>In his self-titled song “Kendrick Lamar,” a 2012 track where he drops the moniker K-Dot to go by his given name, he says:\u003c/p>\n\u003cp>\u003cem>I’m just a good kid from Compton that want to rap\u003cbr>\nWeighing my options, pick up a Bible or a strap?\u003cbr>\nI never killed a man, never sold any crack\u003cbr>\nAll I ever did was try to keep my city on the map\u003c/em>\u003c/p>\n\u003cp>It’s these four bars, above, that underscore a philosophy further explored in 2012’s \u003cem>Good Kid m.A.A.D City\u003c/em>, and brought to visual life in \u003ca href=\"https://i.discogs.com/IisP10nUmJmiyxaAtenOChe3Ng5Q56YzMneN6GopVQQ/rs:fit/g:sm/q:90/h:600/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTMzNjkw/NDItMTU4NjA5MTUx/OC03NzYyLmpwZWc.jpeg\" target=\"_blank\" rel=\"noopener noreferrer\">the cover art for his \u003cem>Section 80\u003c/em> mixtape\u003c/a>. But before the idea shows up in album form, it’s “\u003ca href=\"https://www.youtube.com/watch?v=0jHV0HxQQGw\" target=\"_blank\" rel=\"noopener noreferrer\">Average Joe\u003c/a>” where Mr. Duckworth explains the same concept in the earliest, most vivid colors.\u003c/p>\n\u003cp>Kendrick opens the song by saying “The hardest thing for me to do / Is to get you to know me within 16 bars.” He then does just that, illustrating his position of being gang-adjacent, a good kid who’s just trying to rap but is still getting caught up in the life:\u003c/p>\n\u003cp>[aside postID='arts_10886808']\u003cem>Everyone I knew was either Crip or Piru\u003c/em>\u003cbr>\n\u003cem>Cousins in elementary, relatives in high school\u003c/em>\u003cbr>\n\u003cem>With that being said, each one of their rivals\u003c/em>\u003cbr>\n\u003cem>Was aiming something at my head, I needed survival\u003c/em>\u003cbr>\n\u003cem>Got jumped, got jacked, shot at, shot back\u003c/em>\u003cbr>\n\u003cem>And I don’t even push a line, I’m just tryna push these rhymes\u003c/em>\u003cbr>\n\u003cem>In the midst of staying neutral and discreet\u003c/em>\u003cbr>\n\u003cem>My momma said you’re judged by the company you keep\u003c/em>\u003c/p>\n\u003cp>In a nutshell, this is Kendrick’s story; the premise of his entire career.\u003c/p>\n\u003cp>“This is why they fuck with me,” goes the chorus, twice, before Kendrick says, “I’m no gangster, no killer, I’m just your average Joe (know that) / But one thing you should consider, I’m the realest you know.”\u003c/p>\n\u003cp>Boom. That’s it. He’s an authentic person who’s telling his story, and growing as he does. He hones this theme through poetically energetic slick storytelling, a mix of Iceberg Slim, Gil Scott-Heron, DMX and Rass Kass, but yeah: Kendrick’s formula really is that simple.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11057865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/11/Kendrick.Meline.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>‘ve followed Kendrick’s work since before 2011, when he \u003ca href=\"https://www.youtube.com/watch?v=-cIQe2iaQRk\" target=\"_blank\" rel=\"noopener noreferrer\">performed at the New Parish in Oakland\u003c/a>—still the only time I’ve seen him perform. The first song I ever heard from him was “Heaven or Hell,” a track about the drastic dichotomies in life. Again, the same theme of good and evil, and him standing as an honest observer in the midst of it all.\u003c/p>\n\u003cp>Now on the verge of releasing \u003cem>Mr. Morale & the Big Steppers,\u003c/em> the Gemini MC is bracing us for more stories about the polarizing aspects of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Looking at his catalog, there’s a lesson on the importance of revising, reworking and retelling our stories of growth. No, I’m not saying you too can be Kendrick Lamar—there’s only one big-eared Pulitzer Prize winning lyricist from Hub City. But we can all work and rework ourselves, and our stories. Word to Average Joe.\u003c/p>\n\n",
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"excerpt": "An early track by Kendrick Lamar provides the secret origin for his gift of revisiting familiar themes, writes Pendarvis Harshaw.",
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"description": "An early track by Kendrick Lamar provides the secret origin for his gift of revisiting familiar themes, writes Pendarvis Harshaw.",
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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\">W\u003c/span>ith Kendrick Lamar about to drop his fifth studio album, \u003ci>Mr. Morale and the Big Steppers\u003c/i>, it’s the perfect time to argue about his most significant song.\u003c/p>\n\u003cp>In the half decade since Kendrick dropped \u003cem>Damn\u003c/em>, fans have been left to revisit old tracks repeatedly during his hiatus. Which is fitting, because one of Kendrick Lamar’s greatest gifts is going back and revisiting—or rather, revising—his earlier music.\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>K-dot is a master of retelling the same story again and again, but on a larger level each time. If you listen closely, the arc of his musical output shows that refining and retelling your story, over and over, is an important aspect of growth, both as an artist and a human.\u003c/p>\n\u003cp>The king MC from Compton has done it with his “The Heart” series, often using that title as a jumpoff to spaz and let loose on the issues he’s dealing with at the time of recording. He dropped the fifth entry in this series this past Sunday just days before his full album release, as he’s done in the past. (In the video, he uses deepfake technology to morph into the likeness of Kobe, Nipsey and more.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uAPUkgeiFVY'\n title='//www.youtube.com/embed/uAPUkgeiFVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also revisited, or remixed, “She Needs Me,” “P&P,” and “Vanity Slaves,” among others. Which in art, especially in hip-hop, isn’t new, revolutionary, deep, or profound. Old art gets remixed everyday, B.\u003c/p>\n\u003cp>But the act of revising and revisiting, expanding and expounding on a piece of art—it’s seen more often in other mediums. Poets famously revisit concepts, as do comedians. Thelonious Monk reportedly wrote the jazz standard “\u003ca href=\"https://www.npr.org/2000/11/20/1114262/npr-100-i-round-midnight-i\" target=\"_blank\" rel=\"noopener noreferrer\">Round Midnight\u003c/a>” as a teen, and played thousands of renditions of it his whole life. Issa Rae created her idea of an awkward Black girl first as \u003ca href=\"https://youtu.be/nIVa9lxkbus\" target=\"_blank\" rel=\"noopener noreferrer\">a YouTube series\u003c/a>, and from that came \u003ca href=\"https://www.simonandschuster.com/books/The-Misadventures-of-Awkward-Black-Girl/Issa-Rae/9781476749099\" target=\"_blank\" rel=\"noopener noreferrer\">a bestselling memoir\u003c/a>, the hit show \u003cem>\u003ca href=\"https://www.kqed.org/pop/40693/how-issa-raes-insecure-is-leading-a-quiet-revolution-in-television\" target=\"_blank\" rel=\"noopener noreferrer\">Insecure\u003c/a>\u003c/em> and more.\u003c/p>\n\u003cp>Kendrick, too, has managed to work and rework one specific concept, and we’ve watched it grow from a couple of lines, to a song, to a concept album and signature aspect of his artwork.\u003c/p>\n\u003cp>So let’s be clear: I’m here to tell you why the track “Average Joe,” from Kendrick Lamar’s 2010 \u003cem>Overly Dedicated\u003c/em> \u003cem>EP\u003c/em>, is his most important song.\u003c/p>\n\u003cfigure id=\"attachment_13913174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg\" alt=\"A young Black man holds an analog camera in the photo pit of a large arena event.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar attends the 2018 BET Experience Concert at L.A. Live on June 22, 2018 in Los Angeles, California. \u003ccite>(Ser Baffo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">N\u003c/span>o, it’s not his highest charting song (“Humble”), nor his most famous (“Alright”). It’s not the one that gets the party turnt (“Michael Jordan”). I’m not taking away from his collaborations with Bono or Beyoncé, and definitely not the voice of Tupac Shakur (“Mortal Man”) or the song that President Obama said was the best song of 2015 (“How Much a Dollar Cost”).\u003c/p>\n\u003cp>Kenny’s catalog boasts songs with Travis and Drake that have been played so many times it’d be torture to hear them again. The Black Hippy tracks are dope, and despite his impending departure from their shared record label, Top Dawg Entertainment, I hope we get more collaborations from him and Ab-Soul, Jay Rock and Schoolboy Q. (Hell, even if we just get \u003ca href=\"https://youtu.be/Z-48u_uWMHY?t=130\" target=\"_blank\" rel=\"noopener noreferrer\">that song from the opening of the “Alright” video\u003c/a>, I’d be happy.)\u003c/p>\n\u003cp>Kendrick’s career is decorated with honors and accolades, from executive-producing the \u003cem>Black Panther\u003c/em> soundtrack to performing at this year’s Dr. Dre-led Super Bowl halftime performance. I mean, the guy won a freaking Pulitzer for \u003cem>DAMN\u003c/em>—a Pulitzer for \u003cem>spitting rhymes\u003c/em>—did we even know that was possible?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even in failure, like losing a Grammy to \u003ca href=\"https://www.gawker.com/macklemore-is-a-ho-bag-1509862810\" target=\"_blank\" rel=\"noopener noreferrer\">some white guy from Seattle\u003c/a>, Kendrick won our hearts—and proved why the act of reworking your craft is important.\u003c/p>\n\u003cp>On the novel-like album \u003cem>Good Kid, M.A.A.D City\u003c/em>, Kendrick is a bystander exploring the dichotomy of good and evil in his community, using clever lyrics recited over drums that punch like Kimbo Slice.\u003c/p>\n\u003cp>He describes his transformation as an outside observer on the track “m.A.A.D City”:\u003c/p>\n\u003cp>\u003cem>Seen a light-skinned nigga with his brains blown out\u003cbr>\nAt the same burger stand where (redacted) hangs out\u003cbr>\nNow, this is not a tape recorder saying that he did it\u003cbr>\nBut ever since that day, I was lookin’ at him different\u003c/em>\u003c/p>\n\u003cp>And then, later in the song, he gets pulled into this world of sinister behavior:\u003c/p>\n\u003cp>\u003cem>My pops said I needed a job, I thought I believed him\u003cbr>\nSecurity guard for a month and ended up leavin’\u003cbr>\nIn fact, I got fired, ’cause I was inspired by all of my friends\u003cbr>\nTo stage a robbery the third Saturday I clocked in\u003c/em>\u003c/p>\n\u003cp>Kendrick, a neutral narrator who gets influenced by his associates, has been this guy for some time.\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/EjKlzdnoBGg'\n title='//www.youtube.com/embed/EjKlzdnoBGg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his self-titled song “Kendrick Lamar,” a 2012 track where he drops the moniker K-Dot to go by his given name, he says:\u003c/p>\n\u003cp>\u003cem>I’m just a good kid from Compton that want to rap\u003cbr>\nWeighing my options, pick up a Bible or a strap?\u003cbr>\nI never killed a man, never sold any crack\u003cbr>\nAll I ever did was try to keep my city on the map\u003c/em>\u003c/p>\n\u003cp>It’s these four bars, above, that underscore a philosophy further explored in 2012’s \u003cem>Good Kid m.A.A.D City\u003c/em>, and brought to visual life in \u003ca href=\"https://i.discogs.com/IisP10nUmJmiyxaAtenOChe3Ng5Q56YzMneN6GopVQQ/rs:fit/g:sm/q:90/h:600/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTMzNjkw/NDItMTU4NjA5MTUx/OC03NzYyLmpwZWc.jpeg\" target=\"_blank\" rel=\"noopener noreferrer\">the cover art for his \u003cem>Section 80\u003c/em> mixtape\u003c/a>. But before the idea shows up in album form, it’s “\u003ca href=\"https://www.youtube.com/watch?v=0jHV0HxQQGw\" target=\"_blank\" rel=\"noopener noreferrer\">Average Joe\u003c/a>” where Mr. Duckworth explains the same concept in the earliest, most vivid colors.\u003c/p>\n\u003cp>Kendrick opens the song by saying “The hardest thing for me to do / Is to get you to know me within 16 bars.” He then does just that, illustrating his position of being gang-adjacent, a good kid who’s just trying to rap but is still getting caught up in the life:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Everyone I knew was either Crip or Piru\u003c/em>\u003cbr>\n\u003cem>Cousins in elementary, relatives in high school\u003c/em>\u003cbr>\n\u003cem>With that being said, each one of their rivals\u003c/em>\u003cbr>\n\u003cem>Was aiming something at my head, I needed survival\u003c/em>\u003cbr>\n\u003cem>Got jumped, got jacked, shot at, shot back\u003c/em>\u003cbr>\n\u003cem>And I don’t even push a line, I’m just tryna push these rhymes\u003c/em>\u003cbr>\n\u003cem>In the midst of staying neutral and discreet\u003c/em>\u003cbr>\n\u003cem>My momma said you’re judged by the company you keep\u003c/em>\u003c/p>\n\u003cp>In a nutshell, this is Kendrick’s story; the premise of his entire career.\u003c/p>\n\u003cp>“This is why they fuck with me,” goes the chorus, twice, before Kendrick says, “I’m no gangster, no killer, I’m just your average Joe (know that) / But one thing you should consider, I’m the realest you know.”\u003c/p>\n\u003cp>Boom. That’s it. He’s an authentic person who’s telling his story, and growing as he does. He hones this theme through poetically energetic slick storytelling, a mix of Iceberg Slim, Gil Scott-Heron, DMX and Rass Kass, but yeah: Kendrick’s formula really is that simple.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11057865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/11/Kendrick.Meline.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>‘ve followed Kendrick’s work since before 2011, when he \u003ca href=\"https://www.youtube.com/watch?v=-cIQe2iaQRk\" target=\"_blank\" rel=\"noopener noreferrer\">performed at the New Parish in Oakland\u003c/a>—still the only time I’ve seen him perform. The first song I ever heard from him was “Heaven or Hell,” a track about the drastic dichotomies in life. Again, the same theme of good and evil, and him standing as an honest observer in the midst of it all.\u003c/p>\n\u003cp>Now on the verge of releasing \u003cem>Mr. Morale & the Big Steppers,\u003c/em> the Gemini MC is bracing us for more stories about the polarizing aspects of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking at his catalog, there’s a lesson on the importance of revising, reworking and retelling our stories of growth. No, I’m not saying you too can be Kendrick Lamar—there’s only one big-eared Pulitzer Prize winning lyricist from Hub City. But we can all work and rework ourselves, and our stories. Word to Average Joe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination",
"headTitle": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination | KQED",
"content": "\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdMO5VePp_q/\u003c/p>\n\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>[pullquote size='large' citation='Eric Sasz, Hip-Hop for Change']‘We’re just trying to educate our community so folks don’t have the same experience we had.’[/pullquote]\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Ron Frydberg, Continental Club']‘I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support [Hip-Hop for Change’s] cause.’[/pullquote]\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdZLOdYLy8d/\u003c/p>\n\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n",
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"excerpt": "Several event organizers allege racism, sexism and homophobia. Owner Ron Frydberg denies claims of bigotry.",
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"headline": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘We’re just trying to educate our community so folks don’t have the same experience we had.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. [aside postid='arts_13881132']\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. [aside postid='arts_13842227']\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. [aside postid='forum_2010101883054']\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>[pullquote citation='Jamal Trulove, The Bay Apes founder' size='large']‘If Ethereum’s not going anywhere, we’re not going anywhere either.’[/pullquote]\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcyRTKsPRzR/\u003c/p>\n\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” [aside postid='arts_13897823']\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcYl5ZUvsER/\u003c/p>\n\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>[pullquote citation='Darrel Lideros, The Bay Apes investor' size='large']\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’[/pullquote]\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” [aside postid='arts_13906950']\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Jamal Trulove’s NFT collection advertises real-life perks. But there are many unknowns in his ambitious venture.",
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"title": "Bay Apes NFTs Promise Exclusive Club Membership. Will They Deliver? | KQED",
"description": "Jamal Trulove’s NFT collection advertises real-life perks. But there are many unknowns in his ambitious venture.",
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"headline": "Bay Apes NFTs Promise Exclusive Club Membership. Will They Deliver?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
"headTitle": "New Cypress Hill Documentary ‘Insane in the Brain’ Chronicles a Blazing Triumph | KQED",
"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ezoTkEIivrY'\n title='//www.youtube.com/embed/ezoTkEIivrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A 415 Day Lineup of San Francisco Rap Connects the Culture's History With its Future",
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"content": "\u003cp>Area codes have always been a \u003cem>thing\u003c/em> in rap. (Just ask \u003ca href=\"https://www.youtube.com/watch?v=sTUU4JqFykM\" target=\"_blank\" rel=\"noopener noreferrer\">Ludacris\u003c/a>.) But in 1991, Bay Area area code representation got a little murky. That’s the year the East Bay ceded its 415 area code to the West Bay and Marin, and adopted 510 as its dialing prefix. For certain rap artists, the effect was utter chaos: \u003ca href=\"https://www.discogs.com/artist/182866-415\" target=\"_blank\" rel=\"noopener noreferrer\">an entire Oakland rap group called 415 disbanded\u003c/a>, and \u003ca href=\"https://www.discogs.com/release/18383851-Various-East-Side-415\" target=\"_blank\" rel=\"noopener noreferrer\">whole swaths of East Bay rap songs referencing the 415\u003c/a> became obsolete.\u003c/p>\n\u003cp>These days, the 415 is a proud marker of San Francisco rap all across the city, from the Fillmore to Hunters Point. And \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">415 Day\u003c/a>, the very definition of a call-into-work-sick Friday afternoon party, is a celebration of that culture.\u003c/p>\n\u003cp>[aside postID='arts_13895586']Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\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>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Area codes have always been a \u003cem>thing\u003c/em> in rap. (Just ask \u003ca href=\"https://www.youtube.com/watch?v=sTUU4JqFykM\" target=\"_blank\" rel=\"noopener noreferrer\">Ludacris\u003c/a>.) But in 1991, Bay Area area code representation got a little murky. That’s the year the East Bay ceded its 415 area code to the West Bay and Marin, and adopted 510 as its dialing prefix. For certain rap artists, the effect was utter chaos: \u003ca href=\"https://www.discogs.com/artist/182866-415\" target=\"_blank\" rel=\"noopener noreferrer\">an entire Oakland rap group called 415 disbanded\u003c/a>, and \u003ca href=\"https://www.discogs.com/release/18383851-Various-East-Side-415\" target=\"_blank\" rel=\"noopener noreferrer\">whole swaths of East Bay rap songs referencing the 415\u003c/a> became obsolete.\u003c/p>\n\u003cp>These days, the 415 is a proud marker of San Francisco rap all across the city, from the Fillmore to Hunters Point. And \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">415 Day\u003c/a>, the very definition of a call-into-work-sick Friday afternoon party, is a celebration of that culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\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>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dj-shellheart-bugzy-rexx-life-raj-dj",
"title": "DJ ShellHeart Can't Slow Down",
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"content": "\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\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\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\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> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\u003c/p>\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>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The Richmond-raised DJ for Rexx Life Raj and the late RBC Bugzy is all gas, ensuring people get their flowers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\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\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\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> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\u003c/p>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saweetie Draws on Her Roots to Make Rap That's More Personal",
"headTitle": "Saweetie Draws on Her Roots to Make Rap That’s More Personal | KQED",
"content": "\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wji4b2jjYOk\u003c/p>\n\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>[aside postid='arts_13909111']Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>[aside postid='arts_13908051']Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>[aside postid='news_11881696']“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\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/Wji4b2jjYOk'\n title='//www.youtube.com/embed/Wji4b2jjYOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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