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"content": "\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=819J_xeJwmU\u003c/p>\n\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y7_pfOCwiqU\u003c/p>\n\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "On ‘Every Version of Me,’ the lyricist gets vulnerable about what it took to set his life on a better path.",
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"title": "For Rapper Jwalt, a Year of Self-Love Changed Everything | KQED",
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"subhead": "The key to J-Walt's recent personal and professional progress? Healthier choices.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\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/819J_xeJwmU'\n title='//www.youtube.com/embed/819J_xeJwmU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\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/Y7_pfOCwiqU'\n title='//www.youtube.com/embed/Y7_pfOCwiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While watching the likes of \u003ca href=\"https://www.kqed.org/arts/13934014/digable-\">Digable Planets\u003c/a>, the Dogg Pound and \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">Souls of Mischief\u003c/a> this Saturday at the first annual SF Hip-Hop Festival, Bay Area rap fans will also get something more: a lesson in Black displacement.\u003c/p>\n\u003cp>That’s due to the efforts of Hodari Davis, who’s curated an art- and data-driven project, \u003cem>\u003ca href=\"https://edutainmentforequity.com/exhibit-a\">Exhibit A\u003c/a>\u003c/em>, to be projected onscreen during performers’ sets at the Midway in San Francisco. The exhibit addresses anti-Black policies — urban renewal, overpolicing, redlining — that have caused San Francisco’s Black population to decline consistently from 13.5% in 1970 to just 5.4% in 2025. \u003c/p>\n\u003cp>“The goal is to kind of get these data points in front of people so we can start pressuring the city to make some different policy choices,” Hodari says. \u003c/p>\n\u003cfigure id=\"attachment_13978899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-full wp-image-13978899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-768x613.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sanctuary From What?,’ by Ahmad Walker, part of a series of data-driven works in ‘Exhibit A,’ which premieres at the SF Hip-Hop Festival. \u003ccite>(Ahmad Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, the day-long festival’s primary draw is the musical lineup, with San Francisco hip-hop icons like \u003ca href=\"https://www.kqed.org/arts/13844422/and-ya-dont-stop-the-beastie-boys-visit-city-arts-lectures-in-sf\">Mix Master Mike\u003c/a>, \u003ca href=\"https://www.instagram.com/sanquinn415/reels/\">San Quinn\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">RBL Posse\u003c/a> alongside up-and-comers like \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> from across the Bay Bridge. \u003c/p>\n\u003cp>The intersection of civic policy and hip-hop may seem less prominent in San Francisco than in the East Bay, home of political rappers like Paris and the Coup. But Davis points to the long tradition of San Francisco graffiti, and the ways it’s challenged political norms in prominent spots around the city to make visible “the kinds of social justice resistance that we sometimes hear in rap from the East Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To that end, an upstairs graffiti exhibition and blackbook session on Saturday will include San Francisco artists such as Apex, Bukue and Omen2. In the hallway outside the concert hall will be an exhibit dedicated to the work of \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. And panel discussions, including one hosted by KQED’s Pendarvis Harshaw, will take place in a side room throughout the day.\u003c/p>\n\u003cp>[aside postID='arts_10141391']But it’s \u003cem>Exhibit A\u003c/em>, with work by Malik Seneferu, Ahmad Walker, Andrew Wilson and the Black Panther Party’s legendary artist \u003ca href=\"https://video.kqed.org/video/emory-douglas-the-black-panther-artist-uiabo7/\">Emory Douglas\u003c/a>, that will provide performance backdrops to exemplify the notion — popularized in hip-hop by KRS-One — of “\u003ca href=\"https://en.wikipedia.org/wiki/Edutainment_(album)\">edutainment\u003c/a>.” A bit of turntablism flair from Rob Swift, a bit of “Big Steppin’” from Stunnaman02, and a bit of education on San Francisco’s rates of incarceration, mental health and income inequality.\u003c/p>\n\u003cp>“What happened in the Fillmore, what happened to Bayview, with regard to dispossession and poverty, and the diminishing population of Black people in San Francisco … it’s a pretty intense story,” Davis says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://sfhiphop.org/\">SF Hip-Hop Festival\u003c/a> takes place Saturday, July 19, 1–9 p.m. at the Midway (900 Marin St., San Francisco). The night prior, on July 18, New York rap legend Rakim leads a \u003ca href=\"https://sfhiphop.org/calendar/\">panel discussion on AI in hip-hop\u003c/a> at the Midway with Sway Calloway, Davey D, Adisa Banjoko and others. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While watching the likes of \u003ca href=\"https://www.kqed.org/arts/13934014/digable-\">Digable Planets\u003c/a>, the Dogg Pound and \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">Souls of Mischief\u003c/a> this Saturday at the first annual SF Hip-Hop Festival, Bay Area rap fans will also get something more: a lesson in Black displacement.\u003c/p>\n\u003cp>That’s due to the efforts of Hodari Davis, who’s curated an art- and data-driven project, \u003cem>\u003ca href=\"https://edutainmentforequity.com/exhibit-a\">Exhibit A\u003c/a>\u003c/em>, to be projected onscreen during performers’ sets at the Midway in San Francisco. The exhibit addresses anti-Black policies — urban renewal, overpolicing, redlining — that have caused San Francisco’s Black population to decline consistently from 13.5% in 1970 to just 5.4% in 2025. \u003c/p>\n\u003cp>“The goal is to kind of get these data points in front of people so we can start pressuring the city to make some different policy choices,” Hodari says. \u003c/p>\n\u003cfigure id=\"attachment_13978899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-full wp-image-13978899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/AhmadWalker.ICE_-768x613.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sanctuary From What?,’ by Ahmad Walker, part of a series of data-driven works in ‘Exhibit A,’ which premieres at the SF Hip-Hop Festival. \u003ccite>(Ahmad Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, the day-long festival’s primary draw is the musical lineup, with San Francisco hip-hop icons like \u003ca href=\"https://www.kqed.org/arts/13844422/and-ya-dont-stop-the-beastie-boys-visit-city-arts-lectures-in-sf\">Mix Master Mike\u003c/a>, \u003ca href=\"https://www.instagram.com/sanquinn415/reels/\">San Quinn\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">RBL Posse\u003c/a> alongside up-and-comers like \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> from across the Bay Bridge. \u003c/p>\n\u003cp>The intersection of civic policy and hip-hop may seem less prominent in San Francisco than in the East Bay, home of political rappers like Paris and the Coup. But Davis points to the long tradition of San Francisco graffiti, and the ways it’s challenged political norms in prominent spots around the city to make visible “the kinds of social justice resistance that we sometimes hear in rap from the East Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To that end, an upstairs graffiti exhibition and blackbook session on Saturday will include San Francisco artists such as Apex, Bukue and Omen2. In the hallway outside the concert hall will be an exhibit dedicated to the work of \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. And panel discussions, including one hosted by KQED’s Pendarvis Harshaw, will take place in a side room throughout the day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it’s \u003cem>Exhibit A\u003c/em>, with work by Malik Seneferu, Ahmad Walker, Andrew Wilson and the Black Panther Party’s legendary artist \u003ca href=\"https://video.kqed.org/video/emory-douglas-the-black-panther-artist-uiabo7/\">Emory Douglas\u003c/a>, that will provide performance backdrops to exemplify the notion — popularized in hip-hop by KRS-One — of “\u003ca href=\"https://en.wikipedia.org/wiki/Edutainment_(album)\">edutainment\u003c/a>.” A bit of turntablism flair from Rob Swift, a bit of “Big Steppin’” from Stunnaman02, and a bit of education on San Francisco’s rates of incarceration, mental health and income inequality.\u003c/p>\n\u003cp>“What happened in the Fillmore, what happened to Bayview, with regard to dispossession and poverty, and the diminishing population of Black people in San Francisco … it’s a pretty intense story,” Davis says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://sfhiphop.org/\">SF Hip-Hop Festival\u003c/a> takes place Saturday, July 19, 1–9 p.m. at the Midway (900 Marin St., San Francisco). The night prior, on July 18, New York rap legend Rakim leads a \u003ca href=\"https://sfhiphop.org/calendar/\">panel discussion on AI in hip-hop\u003c/a> at the Midway with Sway Calloway, Davey D, Adisa Banjoko and others. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "woodie-antioch-rapper-the-yoc-bay-area-rap",
"title": "What Woodie’s Brutally Honest Rap Meant for Antioch",
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"headTitle": "What Woodie’s Brutally Honest Rap Meant for Antioch | KQED",
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"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>A-Wax had just gotten out of jail when he decided to hit up a hotel party in Concord.\u003c/p>\n\u003cp>The year was 2001, and the aspiring lyricist from Pittsburg, California found himself talking to a local rapper from Antioch who’d just been released from prison. The pair made plans to record together that night, and connected in the studio shortly afterward.\u003c/p>\n\u003cp>Over two decades later, that interaction with Ryan Mitchell Wood, better known as \u003ca href=\"https://www.youtube.com/watch?v=Jkrf43Fpn7k\">Woodie\u003c/a> — one of the most influential rappers from East Contra Costa County — remains a core memory for \u003ca href=\"https://www.instagram.com/waxfase/?hl=en\">A-Wax\u003c/a>.\u003c/p>\n\u003cp>“He was a white guy in a Mexican gang and I was a white guy in a Black gang,” A-Wax recalls of Woodie, who died in 2007. “He just told me to come through to the studio. I was thrown aback. We didn’t know each other. Most people would want money for that, but he just genuinely wanted to link up and make good music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting track, “\u003ca href=\"https://www.youtube.com/watch?v=hUvOuFYFCIE\">Journey\u003c/a>,” which Woodie produced, is a sempiternal Bay Area mobb banger with slow-dripping bells, sinister synths and cryptic tales of East Bay street life and scandal. The lead single on A-Wax’s debut album \u003ci>Savage Timez\u003c/i>, it represents a different era of Bay Area sound, one nearly alien to the modern general public. It also stands as proof of the non-fungible influence Woodie had on Antioch’s rap world and its surrounding communities as both a storyteller and production maestro.\u003c/p>\n\u003cp>[aside postID=arts_13938026 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9.jpg']\u003c/p>\n\u003cp>Yet when discussing the Bay Area’s extensive rap canon — a colorful spectrum of voices and personalities born on early-’80s handmade cassette tapes that eventually reached a crescendo with hyphy, which spread throughout the Bay Area like a constantly permutating remix of a remix — the city of Antioch rarely comes to mind.\u003c/p>\n\u003cp>With just over 115,000 residents, Antioch is tucked away on the Bay Area’s northeastern outskirts, a remote outpost nearer to Stockton than San Francisco. Founded as Smith’s Landing in 1849 as a gateway settlement into the San Francisco Bay, the historically agricultural community sits along the slow-moving San Joaquin River, offering the promise of a quieter life outside of the region’s larger, more industrialized epicenters.\u003c/p>\n\u003cp>So it’s all the more impressive and confounding that of all the Bay Area’s zip codes and bustling populations, Antioch in the late ’90s (rather than, say, East Side San Jose or the Mission District) became ground zero for Northern California’s Latino rap zeitgeist — and all thanks to a white dude. Though largely unrecognized by today’s listener, Woodie’s contributions to Antioch cannot be overlooked. Indeed, very few contemporary rappers could do for their city what Woodie did for his in an era of independent street hustlership.\u003c/p>\n\u003cfigure id=\"attachment_13978686\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Woodie and A-Wax, from the cover of their joint release ‘2 Sides of the Game.’ ‘He was a white guy in a Mexican gang and I was a white guy in a Black gang,’ says A-Wax today. ‘He just genuinely wanted to link up and make good music.’ \u003ccite>(Bay Rider Entertainment / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Living the Yoc Life\u003c/h2>\n\u003cp>Woodie moved from San Leandro to Antioch at age 10. As an only child, he had a strong connection to his single mother, who later would frequently be mentioned in Woodie’s songs. By 14, Woodie had bounced around Antioch High School, Prospects High Alternative School and Live Oak Continuation School without ever graduating. That’s when he became steeped in Latino culture, making friends with those who would initiate him into gang life. After meeting Carlos “Blackbird” Ramirez, Woodie’s involvement with the \u003ca href=\"https://www.youtube.com/watch?v=3D6JTfmDC7U\">West Twompster Norteños\u003c/a> deepened. \u003c/p>\n\u003cp>As a teenager, Woodie dabbled in breakdancing and rapping. He showed an aptitude for the creative aspects that hip-hop offered. But he was also drawn to other temptations and lifestyles. He appears to have spent time at Folsom State Prison for assault with a deadly weapon; multiple \u003ca href=\"https://www.findagrave.com/memorial/222829330/ryan_mitchell-wood\">online sources reference his prison sentence\u003c/a>, though no public documentation of it exists, and the timeline of Woodie’s imprisonment is unclear.\u003c/p>\n\u003cp>In 1994, Woodie and Ramirez’s close friend Gabriel “Snoop” Roberson was \u003ca href=\"https://www.mercurynews.com/2021/04/07/parole-denied-for-antioch-man-whose-murder-case-took-on-notoriety-through-rapper-woodies-songs-decries-kangaroo-court-as-hes-led-away/\">convicted of murder\u003c/a> and sentenced to life in a gang-related quintuple shooting. Four years later, Ramirez was caught in \u003ca href=\"https://www.cbsnews.com/news/two-day-standoff-ends-in-tragedy/\">a two-day standoff with the Antioch Police Department\u003c/a> that tragically resulted in an apparent murder-suicide, leaving he and his two daughters dead. Conflicting accounts persist about the incident, with \u003ca href=\"https://www.reddit.com/r/Bad_Cop_No_Donut/comments/150teik/the_story_of_blackbird_from_northern_california/\">internet sleuths\u003c/a> maintaining that Ramirez was a target of police misconduct. Woodie felt the same way, and the influence of both Ramirez and Roberson cast a lasting shadow over Woodie’s life and lyrics, even as the details of both circumstances grew muddied. \u003c/p>\n\u003cp>[aside postID=arts_13931795 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg']\u003c/p>\n\u003cp>One thing is clear: Woodie’s life as a white Norteño rapper came with severe complications — and consequences. Woodie \u003ca href=\"https://www.youtube.com/watch?v=7ZQ0uUMEEyQ\">died in 2007\u003c/a> at the age of 31, reportedly from a self-inflicted gunshot wound to the head while living in Florence, Oregon. A quick YouTube search will yield various conspiracy theories about Woodie’s death, and for many fans, it’s become a sensitive subject without conclusive answers. To make matters worse, in 2018 — more than a decade after his death — \u003ca href=\"https://www.eastbaytimes.com/2018/06/01/beyond-disrespectful-iconic-late-antioch-rapper-woodies-headstone-disappears/\">Woodie’s memorial marker was stolen from Holy Cross Cemetery in Antioch\u003c/a>. \u003c/p>\n\u003cp>After the theft, Storm Wolf, who coordinated the memorial’s installation, told the \u003ci>East Bay Times\u003c/i> that as loved as Woodie was, “there were people who hated him that much too.”\u003c/p>\n\u003cp>Posthumously, however, there are countless stories of Woodie’s stature as a beloved community figure, particularly among Latinos. “Being a Mexican from East San Jose, Woodie helped me get through some hard lonely times as a teen. RIP to one of the realest there ever was,” wrote one viewer on a \u003ca href=\"https://www.youtube.com/watch?v=Jkrf43Fpn7k\">\u003ci>History of the Bay\u003c/i>\u003c/a> video dedicated to Woodie’s life and career. Every comment section regarding Woodie’s music is populated with similar testimonies.\u003c/p>\n\u003cp>And regardless of people’s personal opinions of him, everyone seems to agree that Woodie succeeded in doing what no one else had up to that point: putting Antioch on the map with fiercely studious, generational artistry. \u003c/p>\n\u003cfigure id=\"attachment_13978688\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Woodie’s influence on Latino rap fans in the Bay Area is still felt today. \u003ccite>(East Co. Co. Records / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Megan Calderon met Woodie at the Contra Costa County Fair in Antioch when they were both teenagers in the ’90s, and the two maintained a lifelong friendship. While Calderon pursued classes at Los Medanos College, Woodie enrolled at nearby Heald College to take a course in sound engineering.\u003c/p>\n\u003cp>“I bought a recording arts book for him back then for one dollar,” Calderon says. “I remember he told me how helpful that book was. He became self-taught. There was no older homie or brother or cousin that showed him how to get into the rap game and do music. He just played on the keyboard, messed around and learned how to do the recordings himself. His work ethic was respectable; he literally worked from the ground up. It was super cool to see.”\u003c/p>\n\u003ch2>‘2 Sides of the Game’\u003c/h2>\n\u003cp>It wasn’t until after Woodie was released from prison that he asserted himself as one of the Bay Area’s most operose rap voices, particularly among Chicano listeners. It’s because of Woodie — the slick-haired, 49ers jersey-adorned emcee and producer who represented Antioch with the same to-the-grave vigor as Compton’s Eazy-E or Brooklyn’s Notorious B.I.G. — that “the Yoc” even existed in the greater Bay Area lexicon. \u003c/p>\n\u003cp>Prior to Woodie, Latino rap in the Bay Area had just started to gain recognition. In 1988, the Latin Poets (featuring \u003ca href=\"https://www.youtube.com/watch?v=LjWWdDd2Nqc\">Don Cisco\u003c/a> from San Francisco’s Excelsior District) released “Viva La Musica,” understood to be the first Spanish-imbued hip-hop song from the Bay. In 1992, N2DEEP from Vallejo released “\u003ca href=\"https://www.youtube.com/watch?v=WVtRyrOaoZA\">Back to the Hotel\u003c/a>,” which became a massive hit not only on local airwaves, but on MTV. \u003c/p>\n\u003cp>[aside postID=arts_13939381 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/5150.MAIN_.jpg']\u003c/p>\n\u003cp>Another key figure during that period was \u003ca href=\"https://www.youtube.com/@GaryBacaTV\">Gary Baca\u003c/a>, also known as G-Spot, a DJ and cable access TV host. His program featured Vallejo’s Funky Aztecs, who peaked with the 2Pac-assisted single “\u003ca href=\"https://www.youtube.com/watch?v=h5AUARw6Hmo\">Slippin’ Into Darkness\u003c/a>” (the song’s video features vatos, lowriders and cholas, and describes lascivious pursuits while encouraging Black and Latino unity over West Coast funk). Other Latin hip-hop figures who would call the Bay Area home include Chuy Gomez, Darkroom Familia, Equipto, Deuce Eclipse, Krudas Cubensi and Los Rakas.\u003c/p>\n\u003cp>Still, Woodie stood apart from his contemporaries. Aside from being a white man with heavy Norteño gang affiliations — an uncommon archetype for a Bay Area rapper, then and now — he was a prolific producer, and the owner of his own record label, East Co. Co. Records, founded in 1997. To fund the label, Woodie put up his Buick Skylark as collateral for a loan; the vehicle would later be featured on his first album cover.\u003c/p>\n\u003cp>In 1998, Woodie dropped his magnum-opus debut, \u003ci>Yoc Influenced\u003c/i>. The project quickly garnered recognition, and Woodie became one of the Bay’s most promising unsigned talents. He would eventually get picked up by Koch Records in 2001 and enjoy national distribution for his second album, \u003ci>Demonz N My Sleep\u003c/i>.\u003c/p>\n\u003cp>But Woodie built his reputation largely on local, independent success — a trademark of many Bay Area greats.\u003c/p>\n\u003cp>“It was a lot more hands-on,” says A-Wax. “We had to paint the town with promotional items on stop signs, liquor store windows, high traffic areas. It was all hand-to-hand, word of mouth: CDs on deck in the trunks of our cars. It was one brick at a time to lay the foundation, without any way to mass promote [on social media]. It was a different beast.”\u003c/p>\n\u003cp>Along with self-delivering CDs to Tower Records, as well as Under Records in Pittsburg and Rock Bottom in Antioch, Woodie and his cohort relied on community hubs to host shows, sell merch and record promotional commercials. It eventually paid off.\u003c/p>\n\u003cfigure id=\"attachment_13978691\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5.jpg\" alt=\"\" width=\"1920\" height=\"1240\" class=\"size-full wp-image-13978691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-1536x992.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woodie in a detail from the cover of ‘Yoc Influenced,’ his breakout release. \u003ccite>(East Co. Co. Records / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Northern Expozure\u003c/h2>\n\u003cp>At his apex, Woodie rapped as if he were trapped in an eternal cypher with his inner demons — his songs often referenced sin, Catholicism, suicide and forgiveness. He grappled with the moral dilemmas and emotional vulnerabilities of being involved in crime in ways that most gang-affiliated, shoot-’em-all rappers from the ’90s rarely, if ever, vocalized.\u003c/p>\n\u003cp>“My mother prays that I quit the life I lead / Damn, I try to change my ways, but these streets are callin’ me/ And I love her to death, but at the same time I’m a soldier / I gotta put in work, let rivals know they can’t get over” he says on “The Streets Are Callin’ Me.” The song underscores a conflicted duality: Woodie’s internal search for right and wrong, approval and survival.\u003c/p>\n\u003cp>Woodie wasn’t just bragging about drive-bys in his music; he was self-analyzing and healing, scanning his past for scars and revealing them publicly. Rather than mindless glorification, his depiction of a predominantly Latino gang experience came through the eyes of a tormented outcast, a poet giving insight into a violent subculture that traditionally lacked dimension beyond sensational news headlines and Hollywood gang flicks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4nC05Jr1Gs\u003c/p>\n\u003cp>In “The Clock Is Tickin’,” the Antioch philosopher reflects on religious teachings with a tone that’s skeptical, if not harrowingly pragmatic: “The Bible says I live my life rough, statistics say I’ll die young / I can’t disagree ’cause I’m a fucking walking time bomb.”\u003c/p>\n\u003cp>Just as with the work of 2Pac, Mac Dre, The Jacka and Nipsey Hussle — other great California rappers lost too soon to violence — a gloom of brooding mystery and enigma hangs over Woodie’s subversive storytelling. His words are clouded with a swirling sense of guilt, while confidently projecting clairvoyance about his time coming to an end. \u003ci>Yoc Influenced\u003c/i> is filled with what-ifs (“damn, I tried to change my ways but the streets are calling me”), how-comes (“We used to be homies / You flipped the script and now we rivals”) and fuck-its (“If I fail I’ll rot in jail / and if I succeed I’ll burn in hell / So either way I’m fucked in these streets”).\u003c/p>\n\u003cp>Woodie’s own trademark production — eerie, otherworldly — underpinned his every word, providing a funky iciness. Though overlooked, his career as a producer was arguably more important than his rapping in creating Antioch’s soundscape. \u003ca href=\"https://www.instagram.com/bigtone/?hl=en\">Big Tone\u003c/a>, one of Woodie’s former protégés and a fellow Antiochian, describes Woodie’s beats as sounding “like the intro theme song of \u003ci>X-Files\u003c/i>,” the cult television show about unsolved paranormal and extraterrestrial incidents.\u003c/p>\n\u003cp>[aside postID=arts_13933590 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chuy_Ak_CMC-1920x1080.jpg']\u003c/p>\n\u003cp>Like A-Wax, Big Tone (a formerly gang-related Chicano rapper) made his rap debut with Woodie’s assistance; he eventually launched his own label, Sav It Out Records. Tone is one of many in Antioch who praise Woodie not just for his mentorship, but his enduring sonic imprint: creeping synthesizers haunted by dark thumps of bass, accompanied by razor-sharp ruminations on life, prison, loyalty and death.\u003c/p>\n\u003cp>“Before I knew him personally, I was just a fan of his music,” says Big Tone, who recently shared \u003ca href=\"https://www.youtube.com/watch?v=j2CIydHYcv8&t=248s\">footage of Bay Area icon Mac Dre partying with Woodie\u003c/a> in a tribute song about Antioch, titled “Rivertown.” “Then he found out about me, put me on one of his albums and gave me exposure. He would give you the shirt off his back if you needed it.”\u003c/p>\n\u003cp>Woodie built a niche, regional empire from vacuous air, shouting “Much pride north side of the Golden Gate / it’s Woodie Wood from the A-N-T-I-O-C-H” and documenting his own community with the sociological lens of a gang historian. On \u003ca href=\"https://www.youtube.com/watch?v=V2Xlq5cugFA\">his regionally authoritative hit “Norte Sidin’”\u003c/a> — a blapper which put Woodie on the radar of most listeners — he chronologically lays out Antioch’s rising turf wars like no one had before, all over a sample of Bananarama’s “Cruel Summer”: “Back in ’92 only a few of us was ridin’ / ’93 who are these fools South Sidin’ / ’94 we kept the pistol chamber smoking / ’95 they realized the Yoc ain’t joking.”\u003c/p>\n\u003cp>Woodie followed up the biggest solo success of his career with a group effort: \u003ci>Northern Expozure\u003c/i>, a compilation highlighting other rappers and producers from East Contra Costa County, with an emphasis on Norteño gang members. The compilation would eventually spawn eight volumes. Just as beloved as his own solo albums, the \u003ci>Northern Expozure\u003c/i> series might be Woodie’s biggest contribution to future generations of Antioch rappers, showcasing previously undiscovered talents like Lil Shadow and the aforementioned Big Tone and A-Wax. \u003c/p>\n\u003cfigure id=\"attachment_13978687\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">With ‘Northern Expozure,’ Woodie used his newfound notoriety as a platform to promote other artists. \u003ccite>(Bay Rider Entertainment / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to A-Wax, who released “East Co Co” in 2022 as \u003ca href=\"https://www.youtube.com/watch?v=THB9ZydxckM\">a heartfelt tribute to his fallen mentor\u003c/a>, Woodie loosely modeled his vision after independent San Francisco rap legend JT the Bigga Figga and his homegrown enterprise Get Low Recordz. \u003c/p>\n\u003cp>“Own the label, sign the artists, make your own beats,” A-Wax explains. “JT was the one we looked up to who did everything on his own … He was kicking up noise. I wasn’t around JT to learn the ins and outs hands-on, but I seen it from a distance, and I know [Woodie] was running the same game plan.”\u003c/p>\n\u003cp>The progenitor of Antioch’s rap culture, Woodie turned “Yoc Life” and “\u003ca href=\"https://www.youtube.com/watch?v=smsLr6yvbeQ\">Mob Livin’\u003c/a>” into phrases that continue to ring out from lowriders, customized pickups and tinted-window coupes to this day. Woodie never reached the same commercial success as revered Bay rappers like E-40, but then again, who has? Woodie’s legacy is certainly layered, one of a transcendent underground artist loved by his fans and tarnished by his foes. Nonetheless, he remains one of the most gifted and altruistic California gang rappers of all time.\u003c/p>\n\u003cp>“This music thing, I’m doing it for my family and my homies,” he says on “Take My Soul,” a bonus track on \u003ci>Yoc Influenced\u003c/i>. “I’m trying to leave some cash in their pockets before I go. The clock is ticking. It’s just a matter of time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The clock eventually ran out for Woodie. But before he left, he gave us all — homies, fans, the Yay — a burning soundtrack that lives on.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>A-Wax had just gotten out of jail when he decided to hit up a hotel party in Concord.\u003c/p>\n\u003cp>The year was 2001, and the aspiring lyricist from Pittsburg, California found himself talking to a local rapper from Antioch who’d just been released from prison. The pair made plans to record together that night, and connected in the studio shortly afterward.\u003c/p>\n\u003cp>Over two decades later, that interaction with Ryan Mitchell Wood, better known as \u003ca href=\"https://www.youtube.com/watch?v=Jkrf43Fpn7k\">Woodie\u003c/a> — one of the most influential rappers from East Contra Costa County — remains a core memory for \u003ca href=\"https://www.instagram.com/waxfase/?hl=en\">A-Wax\u003c/a>.\u003c/p>\n\u003cp>“He was a white guy in a Mexican gang and I was a white guy in a Black gang,” A-Wax recalls of Woodie, who died in 2007. “He just told me to come through to the studio. I was thrown aback. We didn’t know each other. Most people would want money for that, but he just genuinely wanted to link up and make good music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting track, “\u003ca href=\"https://www.youtube.com/watch?v=hUvOuFYFCIE\">Journey\u003c/a>,” which Woodie produced, is a sempiternal Bay Area mobb banger with slow-dripping bells, sinister synths and cryptic tales of East Bay street life and scandal. The lead single on A-Wax’s debut album \u003ci>Savage Timez\u003c/i>, it represents a different era of Bay Area sound, one nearly alien to the modern general public. It also stands as proof of the non-fungible influence Woodie had on Antioch’s rap world and its surrounding communities as both a storyteller and production maestro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet when discussing the Bay Area’s extensive rap canon — a colorful spectrum of voices and personalities born on early-’80s handmade cassette tapes that eventually reached a crescendo with hyphy, which spread throughout the Bay Area like a constantly permutating remix of a remix — the city of Antioch rarely comes to mind.\u003c/p>\n\u003cp>With just over 115,000 residents, Antioch is tucked away on the Bay Area’s northeastern outskirts, a remote outpost nearer to Stockton than San Francisco. Founded as Smith’s Landing in 1849 as a gateway settlement into the San Francisco Bay, the historically agricultural community sits along the slow-moving San Joaquin River, offering the promise of a quieter life outside of the region’s larger, more industrialized epicenters.\u003c/p>\n\u003cp>So it’s all the more impressive and confounding that of all the Bay Area’s zip codes and bustling populations, Antioch in the late ’90s (rather than, say, East Side San Jose or the Mission District) became ground zero for Northern California’s Latino rap zeitgeist — and all thanks to a white dude. Though largely unrecognized by today’s listener, Woodie’s contributions to Antioch cannot be overlooked. Indeed, very few contemporary rappers could do for their city what Woodie did for his in an era of independent street hustlership.\u003c/p>\n\u003cfigure id=\"attachment_13978686\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-4-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Woodie and A-Wax, from the cover of their joint release ‘2 Sides of the Game.’ ‘He was a white guy in a Mexican gang and I was a white guy in a Black gang,’ says A-Wax today. ‘He just genuinely wanted to link up and make good music.’ \u003ccite>(Bay Rider Entertainment / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Living the Yoc Life\u003c/h2>\n\u003cp>Woodie moved from San Leandro to Antioch at age 10. As an only child, he had a strong connection to his single mother, who later would frequently be mentioned in Woodie’s songs. By 14, Woodie had bounced around Antioch High School, Prospects High Alternative School and Live Oak Continuation School without ever graduating. That’s when he became steeped in Latino culture, making friends with those who would initiate him into gang life. After meeting Carlos “Blackbird” Ramirez, Woodie’s involvement with the \u003ca href=\"https://www.youtube.com/watch?v=3D6JTfmDC7U\">West Twompster Norteños\u003c/a> deepened. \u003c/p>\n\u003cp>As a teenager, Woodie dabbled in breakdancing and rapping. He showed an aptitude for the creative aspects that hip-hop offered. But he was also drawn to other temptations and lifestyles. He appears to have spent time at Folsom State Prison for assault with a deadly weapon; multiple \u003ca href=\"https://www.findagrave.com/memorial/222829330/ryan_mitchell-wood\">online sources reference his prison sentence\u003c/a>, though no public documentation of it exists, and the timeline of Woodie’s imprisonment is unclear.\u003c/p>\n\u003cp>In 1994, Woodie and Ramirez’s close friend Gabriel “Snoop” Roberson was \u003ca href=\"https://www.mercurynews.com/2021/04/07/parole-denied-for-antioch-man-whose-murder-case-took-on-notoriety-through-rapper-woodies-songs-decries-kangaroo-court-as-hes-led-away/\">convicted of murder\u003c/a> and sentenced to life in a gang-related quintuple shooting. Four years later, Ramirez was caught in \u003ca href=\"https://www.cbsnews.com/news/two-day-standoff-ends-in-tragedy/\">a two-day standoff with the Antioch Police Department\u003c/a> that tragically resulted in an apparent murder-suicide, leaving he and his two daughters dead. Conflicting accounts persist about the incident, with \u003ca href=\"https://www.reddit.com/r/Bad_Cop_No_Donut/comments/150teik/the_story_of_blackbird_from_northern_california/\">internet sleuths\u003c/a> maintaining that Ramirez was a target of police misconduct. Woodie felt the same way, and the influence of both Ramirez and Roberson cast a lasting shadow over Woodie’s life and lyrics, even as the details of both circumstances grew muddied. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is clear: Woodie’s life as a white Norteño rapper came with severe complications — and consequences. Woodie \u003ca href=\"https://www.youtube.com/watch?v=7ZQ0uUMEEyQ\">died in 2007\u003c/a> at the age of 31, reportedly from a self-inflicted gunshot wound to the head while living in Florence, Oregon. A quick YouTube search will yield various conspiracy theories about Woodie’s death, and for many fans, it’s become a sensitive subject without conclusive answers. To make matters worse, in 2018 — more than a decade after his death — \u003ca href=\"https://www.eastbaytimes.com/2018/06/01/beyond-disrespectful-iconic-late-antioch-rapper-woodies-headstone-disappears/\">Woodie’s memorial marker was stolen from Holy Cross Cemetery in Antioch\u003c/a>. \u003c/p>\n\u003cp>After the theft, Storm Wolf, who coordinated the memorial’s installation, told the \u003ci>East Bay Times\u003c/i> that as loved as Woodie was, “there were people who hated him that much too.”\u003c/p>\n\u003cp>Posthumously, however, there are countless stories of Woodie’s stature as a beloved community figure, particularly among Latinos. “Being a Mexican from East San Jose, Woodie helped me get through some hard lonely times as a teen. RIP to one of the realest there ever was,” wrote one viewer on a \u003ca href=\"https://www.youtube.com/watch?v=Jkrf43Fpn7k\">\u003ci>History of the Bay\u003c/i>\u003c/a> video dedicated to Woodie’s life and career. Every comment section regarding Woodie’s music is populated with similar testimonies.\u003c/p>\n\u003cp>And regardless of people’s personal opinions of him, everyone seems to agree that Woodie succeeded in doing what no one else had up to that point: putting Antioch on the map with fiercely studious, generational artistry. \u003c/p>\n\u003cfigure id=\"attachment_13978688\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-3_2-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Woodie’s influence on Latino rap fans in the Bay Area is still felt today. \u003ccite>(East Co. Co. Records / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Megan Calderon met Woodie at the Contra Costa County Fair in Antioch when they were both teenagers in the ’90s, and the two maintained a lifelong friendship. While Calderon pursued classes at Los Medanos College, Woodie enrolled at nearby Heald College to take a course in sound engineering.\u003c/p>\n\u003cp>“I bought a recording arts book for him back then for one dollar,” Calderon says. “I remember he told me how helpful that book was. He became self-taught. There was no older homie or brother or cousin that showed him how to get into the rap game and do music. He just played on the keyboard, messed around and learned how to do the recordings himself. His work ethic was respectable; he literally worked from the ground up. It was super cool to see.”\u003c/p>\n\u003ch2>‘2 Sides of the Game’\u003c/h2>\n\u003cp>It wasn’t until after Woodie was released from prison that he asserted himself as one of the Bay Area’s most operose rap voices, particularly among Chicano listeners. It’s because of Woodie — the slick-haired, 49ers jersey-adorned emcee and producer who represented Antioch with the same to-the-grave vigor as Compton’s Eazy-E or Brooklyn’s Notorious B.I.G. — that “the Yoc” even existed in the greater Bay Area lexicon. \u003c/p>\n\u003cp>Prior to Woodie, Latino rap in the Bay Area had just started to gain recognition. In 1988, the Latin Poets (featuring \u003ca href=\"https://www.youtube.com/watch?v=LjWWdDd2Nqc\">Don Cisco\u003c/a> from San Francisco’s Excelsior District) released “Viva La Musica,” understood to be the first Spanish-imbued hip-hop song from the Bay. In 1992, N2DEEP from Vallejo released “\u003ca href=\"https://www.youtube.com/watch?v=WVtRyrOaoZA\">Back to the Hotel\u003c/a>,” which became a massive hit not only on local airwaves, but on MTV. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another key figure during that period was \u003ca href=\"https://www.youtube.com/@GaryBacaTV\">Gary Baca\u003c/a>, also known as G-Spot, a DJ and cable access TV host. His program featured Vallejo’s Funky Aztecs, who peaked with the 2Pac-assisted single “\u003ca href=\"https://www.youtube.com/watch?v=h5AUARw6Hmo\">Slippin’ Into Darkness\u003c/a>” (the song’s video features vatos, lowriders and cholas, and describes lascivious pursuits while encouraging Black and Latino unity over West Coast funk). Other Latin hip-hop figures who would call the Bay Area home include Chuy Gomez, Darkroom Familia, Equipto, Deuce Eclipse, Krudas Cubensi and Los Rakas.\u003c/p>\n\u003cp>Still, Woodie stood apart from his contemporaries. Aside from being a white man with heavy Norteño gang affiliations — an uncommon archetype for a Bay Area rapper, then and now — he was a prolific producer, and the owner of his own record label, East Co. Co. Records, founded in 1997. To fund the label, Woodie put up his Buick Skylark as collateral for a loan; the vehicle would later be featured on his first album cover.\u003c/p>\n\u003cp>In 1998, Woodie dropped his magnum-opus debut, \u003ci>Yoc Influenced\u003c/i>. The project quickly garnered recognition, and Woodie became one of the Bay’s most promising unsigned talents. He would eventually get picked up by Koch Records in 2001 and enjoy national distribution for his second album, \u003ci>Demonz N My Sleep\u003c/i>.\u003c/p>\n\u003cp>But Woodie built his reputation largely on local, independent success — a trademark of many Bay Area greats.\u003c/p>\n\u003cp>“It was a lot more hands-on,” says A-Wax. “We had to paint the town with promotional items on stop signs, liquor store windows, high traffic areas. It was all hand-to-hand, word of mouth: CDs on deck in the trunks of our cars. It was one brick at a time to lay the foundation, without any way to mass promote [on social media]. It was a different beast.”\u003c/p>\n\u003cp>Along with self-delivering CDs to Tower Records, as well as Under Records in Pittsburg and Rock Bottom in Antioch, Woodie and his cohort relied on community hubs to host shows, sell merch and record promotional commercials. It eventually paid off.\u003c/p>\n\u003cfigure id=\"attachment_13978691\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5.jpg\" alt=\"\" width=\"1920\" height=\"1240\" class=\"size-full wp-image-13978691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-Graphic-5-1536x992.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woodie in a detail from the cover of ‘Yoc Influenced,’ his breakout release. \u003ccite>(East Co. Co. Records / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Northern Expozure\u003c/h2>\n\u003cp>At his apex, Woodie rapped as if he were trapped in an eternal cypher with his inner demons — his songs often referenced sin, Catholicism, suicide and forgiveness. He grappled with the moral dilemmas and emotional vulnerabilities of being involved in crime in ways that most gang-affiliated, shoot-’em-all rappers from the ’90s rarely, if ever, vocalized.\u003c/p>\n\u003cp>“My mother prays that I quit the life I lead / Damn, I try to change my ways, but these streets are callin’ me/ And I love her to death, but at the same time I’m a soldier / I gotta put in work, let rivals know they can’t get over” he says on “The Streets Are Callin’ Me.” The song underscores a conflicted duality: Woodie’s internal search for right and wrong, approval and survival.\u003c/p>\n\u003cp>Woodie wasn’t just bragging about drive-bys in his music; he was self-analyzing and healing, scanning his past for scars and revealing them publicly. Rather than mindless glorification, his depiction of a predominantly Latino gang experience came through the eyes of a tormented outcast, a poet giving insight into a violent subculture that traditionally lacked dimension beyond sensational news headlines and Hollywood gang flicks.\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/J4nC05Jr1Gs'\n title='//www.youtube.com/embed/J4nC05Jr1Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In “The Clock Is Tickin’,” the Antioch philosopher reflects on religious teachings with a tone that’s skeptical, if not harrowingly pragmatic: “The Bible says I live my life rough, statistics say I’ll die young / I can’t disagree ’cause I’m a fucking walking time bomb.”\u003c/p>\n\u003cp>Just as with the work of 2Pac, Mac Dre, The Jacka and Nipsey Hussle — other great California rappers lost too soon to violence — a gloom of brooding mystery and enigma hangs over Woodie’s subversive storytelling. His words are clouded with a swirling sense of guilt, while confidently projecting clairvoyance about his time coming to an end. \u003ci>Yoc Influenced\u003c/i> is filled with what-ifs (“damn, I tried to change my ways but the streets are calling me”), how-comes (“We used to be homies / You flipped the script and now we rivals”) and fuck-its (“If I fail I’ll rot in jail / and if I succeed I’ll burn in hell / So either way I’m fucked in these streets”).\u003c/p>\n\u003cp>Woodie’s own trademark production — eerie, otherworldly — underpinned his every word, providing a funky iciness. Though overlooked, his career as a producer was arguably more important than his rapping in creating Antioch’s soundscape. \u003ca href=\"https://www.instagram.com/bigtone/?hl=en\">Big Tone\u003c/a>, one of Woodie’s former protégés and a fellow Antiochian, describes Woodie’s beats as sounding “like the intro theme song of \u003ci>X-Files\u003c/i>,” the cult television show about unsolved paranormal and extraterrestrial incidents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like A-Wax, Big Tone (a formerly gang-related Chicano rapper) made his rap debut with Woodie’s assistance; he eventually launched his own label, Sav It Out Records. Tone is one of many in Antioch who praise Woodie not just for his mentorship, but his enduring sonic imprint: creeping synthesizers haunted by dark thumps of bass, accompanied by razor-sharp ruminations on life, prison, loyalty and death.\u003c/p>\n\u003cp>“Before I knew him personally, I was just a fan of his music,” says Big Tone, who recently shared \u003ca href=\"https://www.youtube.com/watch?v=j2CIydHYcv8&t=248s\">footage of Bay Area icon Mac Dre partying with Woodie\u003c/a> in a tribute song about Antioch, titled “Rivertown.” “Then he found out about me, put me on one of his albums and gave me exposure. He would give you the shirt off his back if you needed it.”\u003c/p>\n\u003cp>Woodie built a niche, regional empire from vacuous air, shouting “Much pride north side of the Golden Gate / it’s Woodie Wood from the A-N-T-I-O-C-H” and documenting his own community with the sociological lens of a gang historian. On \u003ca href=\"https://www.youtube.com/watch?v=V2Xlq5cugFA\">his regionally authoritative hit “Norte Sidin’”\u003c/a> — a blapper which put Woodie on the radar of most listeners — he chronologically lays out Antioch’s rising turf wars like no one had before, all over a sample of Bananarama’s “Cruel Summer”: “Back in ’92 only a few of us was ridin’ / ’93 who are these fools South Sidin’ / ’94 we kept the pistol chamber smoking / ’95 they realized the Yoc ain’t joking.”\u003c/p>\n\u003cp>Woodie followed up the biggest solo success of his career with a group effort: \u003ci>Northern Expozure\u003c/i>, a compilation highlighting other rappers and producers from East Contra Costa County, with an emphasis on Norteño gang members. The compilation would eventually spawn eight volumes. Just as beloved as his own solo albums, the \u003ci>Northern Expozure\u003c/i> series might be Woodie’s biggest contribution to future generations of Antioch rappers, showcasing previously undiscovered talents like Lil Shadow and the aforementioned Big Tone and A-Wax. \u003c/p>\n\u003cfigure id=\"attachment_13978687\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2.jpg\" alt=\"\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13978687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Woodie-2_2-768x768.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">With ‘Northern Expozure,’ Woodie used his newfound notoriety as a platform to promote other artists. \u003ccite>(Bay Rider Entertainment / Design by Darren Tu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to A-Wax, who released “East Co Co” in 2022 as \u003ca href=\"https://www.youtube.com/watch?v=THB9ZydxckM\">a heartfelt tribute to his fallen mentor\u003c/a>, Woodie loosely modeled his vision after independent San Francisco rap legend JT the Bigga Figga and his homegrown enterprise Get Low Recordz. \u003c/p>\n\u003cp>“Own the label, sign the artists, make your own beats,” A-Wax explains. “JT was the one we looked up to who did everything on his own … He was kicking up noise. I wasn’t around JT to learn the ins and outs hands-on, but I seen it from a distance, and I know [Woodie] was running the same game plan.”\u003c/p>\n\u003cp>The progenitor of Antioch’s rap culture, Woodie turned “Yoc Life” and “\u003ca href=\"https://www.youtube.com/watch?v=smsLr6yvbeQ\">Mob Livin’\u003c/a>” into phrases that continue to ring out from lowriders, customized pickups and tinted-window coupes to this day. Woodie never reached the same commercial success as revered Bay rappers like E-40, but then again, who has? Woodie’s legacy is certainly layered, one of a transcendent underground artist loved by his fans and tarnished by his foes. Nonetheless, he remains one of the most gifted and altruistic California gang rappers of all time.\u003c/p>\n\u003cp>“This music thing, I’m doing it for my family and my homies,” he says on “Take My Soul,” a bonus track on \u003ci>Yoc Influenced\u003c/i>. “I’m trying to leave some cash in their pockets before I go. The clock is ticking. It’s just a matter of time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clock eventually ran out for Woodie. But before he left, he gave us all — homies, fans, the Yay — a burning soundtrack that lives on.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories.\u003c/p>\n\u003cp>Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq’s life and music, weaving never-before-told stories with performances spanning \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">Tony! Toni! Toné!\u003c/a>, Lucy Pearl and his solo catalog.\u003c/p>\n\u003cp>[aside postid='arts_13977304']The tour kicks off in Sacramento on Sept. 7 that’s expected to run into mid-October. It’ll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland.\u003c/p>\n\u003cp>It’s been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé’s \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>, wrote “I Lied to You” for Ryan Coogler’s \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">\u003cem>Sinners\u003c/em>\u003c/a> and is preparing the rerelease of his 2004 solo album \u003cem>Ray Ray\u003c/em> through his Vinyl Club, a membership that reissues his catalog.\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> halftime show and how he’s honoring the legacy of his late brother, \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>, who died in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>AP: Does doing the one-man show feel like you’re taking a risk or more of a spiritual enlightenment?\u003cbr>\n\u003c/strong>SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I’m totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I’ve always wanted to do that.\u003c/p>\n\u003cp>\u003cstrong>AP: What inspired you?\u003c/strong>\u003cbr>\nSAADIQ: I was really inspired by Mike Tyson’s \u003cem>Undisputed Truth\u003c/em>. I watched Mike’s show. It wasn’t like I looked at it and said “I could do it if Mike Tyson did it.” Mike Tyson’s one-man show made it look difficult, but it was so good. It pulled me into Mike’s life. Then that’s when I said “I want to do a one-man show.” It took this long, so it was therapy to do it.\u003c/p>\n\u003cp>\u003cstrong>AP: You was recruited by Ludwig Göransson — who scored \u003cem>Sinners\u003c/em> — to write the film’s pivotal track “I Lied to You.” What did you pull away from that experience?\u003c/strong>\u003cbr>\nSAADIQ: Being that I score film already, what you learn when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you’re listening to two perspectives. One person scores, one person writes and shoots. It’s like having a super team with those two guys. Adding me to the equation, it should only get better.\u003c/p>\n\u003cp>[aside postid='arts_13937961']Ludwig is an amazing composer, guitar player, producer. Ryan’s from my hometown. He’s a good dude. Solid, great storyteller and you want to show up for a movie that’s deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute.\u003c/p>\n\u003cp>\u003cstrong>AP: You worked on \u003cem>Cowboy Carter\u003c/em> tracks like “Texas Hold ‘Em,” “Bodyguard” and “16 Carriages.” How was being a part of the album’s process and seeing Beyoncé in full work mode?\u003c/strong>\u003cbr>\nSAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé’s critical thinking, it was great for me. I never meet too many people that can work harder than me. That’s somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That’s how I felt. You just knew you was in a new camp and everybody on the team is like “Let’s get ready to go.”\u003c/p>\n\u003cfigure id=\"attachment_13978467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png\" alt=\"A Black man with tattooed forearms, wearing a white t-shirt, baseball cap and beige pants sits legs crossed on a black chair.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-1536x1026.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq in 2025. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>AP: What stood\u003c/strong> \u003cstrong>out to you about Beyoncé being such a hard worker?\u003c/strong>\u003cbr>\nSAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too.\u003c/p>\n\u003cp>You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That’s what I always wanted to do.\u003c/p>\n\u003cp>\u003cstrong>AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year’s Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer?\u003c/strong>\u003cbr>\nSAADIQ: As far as power, it’s got to be some \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a> things happening. In a stadium, you’re supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn’t even say myself in that. But I could definitely be a part of some things for the Super Bowl. But if you want to bring the urban side, I would say \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a>. Those are biggest in the Bay for me.\u003c/p>\n\u003cp>\u003cstrong>AP: How did the death of your brother D’Wayne shift the focus of your music?\u003c/strong>\u003cbr>\nSAADIQ: It didn’t really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie … and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren’t together.\u003c/p>\n\u003cp>\u003cstrong>AP: What did you learn from your brother personally and professionally that you are carrying forward?\u003c/strong>\u003cbr>\nSAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I’m blazing it for them.\u003c/p>\n\u003cp>[aside postid='arts_13972818']But now they blazing it for me. My nephew (Dylan Wiggins) is working with \u003ca href=\"https://www.kqed.org/pop/tag/frank-ocean\">Frank Ocean\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13976380/the-weeknd-movie-review-hurry-up-tomorrow-abel-tesfaye-jenna-ortega\">The Weeknd\u003c/a>. So many people I can’t keep up with them. Everything that’s instilled in me and Dwayne is now instilled in Jaden (Wiggins). He’s a beast. He plays bass and guitar. He’s producing and playing with bands. I’m trying to keep everyone going forward, not backwards.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Raphael Saadiq’s ‘No Bandwidth’ tour dates include: Sacramento’s Channel 24 on Sept. 7, 2025 and San Francisco’s Davies Symphony Hall on Sept. 8.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tour kicks off in Sacramento on Sept. 7 that’s expected to run into mid-October. It’ll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland.\u003c/p>\n\u003cp>It’s been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé’s \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>, wrote “I Lied to You” for Ryan Coogler’s \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">\u003cem>Sinners\u003c/em>\u003c/a> and is preparing the rerelease of his 2004 solo album \u003cem>Ray Ray\u003c/em> through his Vinyl Club, a membership that reissues his catalog.\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> halftime show and how he’s honoring the legacy of his late brother, \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>, who died in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>AP: Does doing the one-man show feel like you’re taking a risk or more of a spiritual enlightenment?\u003cbr>\n\u003c/strong>SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I’m totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I’ve always wanted to do that.\u003c/p>\n\u003cp>\u003cstrong>AP: What inspired you?\u003c/strong>\u003cbr>\nSAADIQ: I was really inspired by Mike Tyson’s \u003cem>Undisputed Truth\u003c/em>. I watched Mike’s show. It wasn’t like I looked at it and said “I could do it if Mike Tyson did it.” Mike Tyson’s one-man show made it look difficult, but it was so good. It pulled me into Mike’s life. Then that’s when I said “I want to do a one-man show.” It took this long, so it was therapy to do it.\u003c/p>\n\u003cp>\u003cstrong>AP: You was recruited by Ludwig Göransson — who scored \u003cem>Sinners\u003c/em> — to write the film’s pivotal track “I Lied to You.” What did you pull away from that experience?\u003c/strong>\u003cbr>\nSAADIQ: Being that I score film already, what you learn when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you’re listening to two perspectives. One person scores, one person writes and shoots. It’s like having a super team with those two guys. Adding me to the equation, it should only get better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ludwig is an amazing composer, guitar player, producer. Ryan’s from my hometown. He’s a good dude. Solid, great storyteller and you want to show up for a movie that’s deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute.\u003c/p>\n\u003cp>\u003cstrong>AP: You worked on \u003cem>Cowboy Carter\u003c/em> tracks like “Texas Hold ‘Em,” “Bodyguard” and “16 Carriages.” How was being a part of the album’s process and seeing Beyoncé in full work mode?\u003c/strong>\u003cbr>\nSAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé’s critical thinking, it was great for me. I never meet too many people that can work harder than me. That’s somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That’s how I felt. You just knew you was in a new camp and everybody on the team is like “Let’s get ready to go.”\u003c/p>\n\u003cfigure id=\"attachment_13978467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png\" alt=\"A Black man with tattooed forearms, wearing a white t-shirt, baseball cap and beige pants sits legs crossed on a black chair.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-1536x1026.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq in 2025. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>AP: What stood\u003c/strong> \u003cstrong>out to you about Beyoncé being such a hard worker?\u003c/strong>\u003cbr>\nSAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too.\u003c/p>\n\u003cp>You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That’s what I always wanted to do.\u003c/p>\n\u003cp>\u003cstrong>AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year’s Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer?\u003c/strong>\u003cbr>\nSAADIQ: As far as power, it’s got to be some \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a> things happening. In a stadium, you’re supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn’t even say myself in that. But I could definitely be a part of some things for the Super Bowl. But if you want to bring the urban side, I would say \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a>. Those are biggest in the Bay for me.\u003c/p>\n\u003cp>\u003cstrong>AP: How did the death of your brother D’Wayne shift the focus of your music?\u003c/strong>\u003cbr>\nSAADIQ: It didn’t really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie … and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren’t together.\u003c/p>\n\u003cp>\u003cstrong>AP: What did you learn from your brother personally and professionally that you are carrying forward?\u003c/strong>\u003cbr>\nSAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I’m blazing it for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ice-T has been a television star for so long that his gangsta \u003ca href=\"https://www.kqed.org/bayareahiphop/timeline\">rap\u003c/a> pedigree is nearly buried in the cultural imagination. Two entire generations know him as the jelly donut–loving Sergeant Fin on \u003cem>Law & Order: Special Victims Unit\u003c/em>, a role he’s played for 27 years.\u003c/p>\n\u003cp>But 40 years ago, inspired by songs like Toddy Tee’s “Batterram” and Schoolly D’s “P.S.K. What Does It Mean?,” Ice-T sat down with an 808 drum machine and a pen. What resulted is one of the defining gangsta narratives, “\u003ca href=\"https://www.youtube.com/watch?v=pzCGPlDgbgU\">6 in the Mornin’\u003c/a>,” a tour de force of police brutality, the criminal justice system, freeway pursuits, the drug trade and street justice. It’s basically Homer’s \u003cem>Odyssey\u003c/em> for 1980s street rap. \u003c/p>\n\u003cp>[aside postID='arts_13976928']Ice-T doesn’t often play clubs anymore, but on Friday, he drops into the 470-capacity Great American Music Hall for a rare small show in San Francisco. This ain’t no \u003cem>SVU\u003c/em> watch party — Ice-T is joined Friday by his original DJ from the 1980s, DJ Evil E, and show opener Mac Mall, who \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">recorded the street classic \u003cem>Illegal Business\u003c/em> in Vallejo at age 15\u003c/a>. \u003c/p>\n\u003cp>Expect a setlist for the O.G.s, in other words — the heads who still remember when Ice-T \u003ca href=\"https://en.wikipedia.org/wiki/O.G._Original_Gangster\">brought the term “O.G.” into the wider lexicon\u003c/a>. Or when he \u003ca href=\"https://www.upi.com/Archives/1992/06/29/Bush-calls-cop-killing-lyrics-sick/7530709790400/\">incurred the condemnation of President George H. W. Bush\u003c/a> over the song “Cop Killer.” Or when he \u003ca href=\"https://www.youtube.com/watch?v=SiSu1co7tJY\">fronted one of the earliest rap-metal crossover groups\u003c/a>. His accolades, like the lyrics to “6 in the Mornin’,” just go on and on and on. On Friday in San Francisco, expect his rhymes to do the same.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ice-T performs Friday, June 27, at the Great American Music Hall in San Francisco with DJ Evil E and Mac Mall. \u003ca href=\"https://wl.seetickets.us/event/ice-t/649666?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em> \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ice-T doesn’t often play clubs anymore, but on Friday, he drops into the 470-capacity Great American Music Hall for a rare small show in San Francisco. This ain’t no \u003cem>SVU\u003c/em> watch party — Ice-T is joined Friday by his original DJ from the 1980s, DJ Evil E, and show opener Mac Mall, who \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">recorded the street classic \u003cem>Illegal Business\u003c/em> in Vallejo at age 15\u003c/a>. \u003c/p>\n\u003cp>Expect a setlist for the O.G.s, in other words — the heads who still remember when Ice-T \u003ca href=\"https://en.wikipedia.org/wiki/O.G._Original_Gangster\">brought the term “O.G.” into the wider lexicon\u003c/a>. Or when he \u003ca href=\"https://www.upi.com/Archives/1992/06/29/Bush-calls-cop-killing-lyrics-sick/7530709790400/\">incurred the condemnation of President George H. W. Bush\u003c/a> over the song “Cop Killer.” Or when he \u003ca href=\"https://www.youtube.com/watch?v=SiSu1co7tJY\">fronted one of the earliest rap-metal crossover groups\u003c/a>. His accolades, like the lyrics to “6 in the Mornin’,” just go on and on and on. On Friday in San Francisco, expect his rhymes to do the same.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ice-T performs Friday, June 27, at the Great American Music Hall in San Francisco with DJ Evil E and Mac Mall. \u003ca href=\"https://wl.seetickets.us/event/ice-t/649666?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> recently stopped by NPR’s Tiny Desk for an 11-song set celebrating 37 years in the game — and the Bay Area hip-hop icon brought the heat.\u003c/p>\n\u003cp>The NPR concert simultaneously marks the 30-year anniversary of E-40’s 1995 album \u003cem>In a Major Way\u003c/em>, an album almost unfathomably stacked with regional talent. So it’s fitting that for his Tiny Desk set, 40 Water brought along a live band of today’s Bay Area heavy hitters, led by Kev Choice and including Howard Wiley, Marcus Phillips, Dame Drummer, Martin Luther, Silk-E and others. \u003c/p>\n\u003cp>[aside postID='arts_13976039']Smooth as ever and tightly rehearsed, watch E-40 and his live band in action above. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>While filming the video for his update of the classic Bay Area love song “\u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\" target=\"_blank\" rel=\"noopener\">Cupcake No Fillin\u003c/a>,” rapper, singer and producer \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> stood in East Oakland’s Dimond Park, wearing a white T-shirt of a pink cupcake crossed out.\u003c/p>\n\u003cp>The creators of the original anti-cupcaking anthem,\u003ca href=\"https://www.instagram.com/thejankgod/\" target=\"_blank\" rel=\"noopener\"> B*Janky\u003c/a> and \u003ca href=\"https://www.instagram.com/fathajefe/\" target=\"_blank\" rel=\"noopener\">F.A. Tha Jefe\u003c/a> of the \u003ca href=\"https://www.instagram.com/officialtrunkboiz/?hl=en\" target=\"_blank\" rel=\"noopener\">Trunk Boiz\u003c/a>, stood nearby, surrounded by over two dozen people — musicians, dancers and community members. Some held cupcakes, others held scraper bikes; all of them chanted the song’s hook: \u003cem>Cupcake no fillin’ / I ain’t got time, ’cause I got a lot of women\u003c/em>.\u003c/p>\n\u003cp>Seiji Oda took out his phone and started recording.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HkJhiULLU\u003c/p>\n\u003cp>“I wanted to capture that energy,” he says during a recent phone call. He then added that audio to “no fillins²,” a standout track from his latest album, \u003ca href=\"https://open.spotify.com/album/4nEuPqxYGQt3FLw8sOk6sQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Human + Nature\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s Seiji Oda burst into national consciousness last year with his lo-fi hit “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>,” which tamed the chaos of hyphy in favor of centered, Zen-like atmospherics. Fans dubbed it “therapeutic thizzing”; on its viral journey, it was reposted widely, including by SZA.\u003c/p>\n\u003cp>[aside postID='arts_13957194']For his follow-up, the 27-year-old of Japanese-Irish-Panamanian descent coalesced the sounds of Japanese babbling brooks and warbler birds, as well as Brazilian baile funk and Bay Area blap. \u003cem>Human + Nature\u003c/em> has pop rifts and 808 kicks, a smattering of top-tier Bay Area features and philosophical bars about love. There’s his grandmother’s piano, tranquil harmonizing and player lines like “Good hygiene / baby I stay flossing.”\u003c/p>\n\u003cp>And most of it started with voice notes. His field recordings of birdsong or the ocean would serve as a starting point for a song. “And then,” he says, “I’d kind of see where that takes me.”\u003c/p>\n\u003cfigure id=\"attachment_13976660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976660 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-800x530.jpg\" alt=\"People gathered at a park\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034.jpg 1545w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘gentle gigg’ general himself, Seiji Oda (A’s hat, center) among people gathered at Dimond Park for the video shoot of ‘no fillins².’ \u003ccite>(Kenny Ko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the song “a leaf is a lung,” he recorded the sound of waves crashing, matched the soundscape with chords played on a keyboard and then imagined what sort of lyrics he’d spit if he were in that environment.\u003c/p>\n\u003cp>“It just made me feel kind of tropical,” he says, “so I sang.”\u003c/p>\n\u003cp>Seiji Oda laid down lead and background vocals, then sampled himself and sang over it again. He then added some “mobby drums,” providing the combination of aggressive bass-heavy percussion and airy-melodic vocals that’s a staple in his music, he calls it “ethereal blap.”\u003c/p>\n\u003cp>His love for hard-hitting drums is evident in the lead single “peaceful³,” featuring Vallejo’s\u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>. On \u003cem>Human + Nature\u003c/em>, Seiji Oda changes up the drums on the second verse to sound like Mac Dre’s “\u003ca href=\"https://www.youtube.com/watch?v=V7N0J7o0z7U\" target=\"_blank\" rel=\"noopener\">Boss Tycoon\u003c/a>,” underscoring LaRussell’s Furly Ghost-like flow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BFUOi6fEEq8\u003c/p>\n\u003cp>Seiji Oda refers to “peaceful³” as the heartbeat of the album, a song that segues seamlessly into the following track “Bossa Nova,” which illustrates his influences beyond the Bay.\u003c/p>\n\u003cp>“I’ve been listening to so much baile funk,” says Seiji Oda, discussing the track he co-produced with Kiron KP and Quinn Carroll. Steeped in the Brazilian martial art of Capoeira since a kid, Seiji Oda notes that “Brazilian music– baile funk and bossa nova– they’re all kind of intertwined. So, I’ve been super inspired by that music lately.”\u003c/p>\n\u003cfigure id=\"attachment_13976661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976661 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer and social media influencer Junebug pulled up to Seiji Oda’s ‘no fillins²’ video shoot in a huge Hyphy 101 t-shirt. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On “green tea,” featuring Union City’s \u003ca href=\"https://www.instagram.com/officialkiyomi/?hl=en\" target=\"_blank\" rel=\"noopener\">Kiyomi\u003c/a>, a seemingly normal pop song packs a punch as the duo floats over their shared love of Bay Area bass. While making “ahead of myself” with Sacramento’s \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener\">Nate Curry\u003c/a>, Seiji Oda was inspired by his guest’s alien-like way of freely layering harmonies on a track.\u003c/p>\n\u003cp>Then there’s “MOBBY MIYAZAKI,” with San Francisco’s \u003ca href=\"https://www.instagram.com/y0ungbari/?hl=en\" target=\"_blank\" rel=\"noopener\">Young Bari\u003c/a>, in which Seiji Oda pulls from another Bay Area classic — \u003ca href=\"https://soundcloud.com/youngbari/so-mobby-feat-fillmoe-rocky-prod-tfdr\" target=\"_blank\" rel=\"noopener\">Young Bari’s “So Mobby”\u003c/a> — and pairs it with a flip of Joe Hisaishi’s music from Studio Ghibli films directed by legendary Japanese animator Hayao Miyazaki.\u003c/p>\n\u003cp>Seiji Oda even returned to his grandmother’s house in Japan for a spark of creativity. Her voice is layered into the mix of the minute-long interlude “yaki yasai (obaachan’s piano),” recorded while she was cooking. “I just wanted to capture that moment,” he says, “it just felt really intimate.”\u003c/p>\n\u003cp>And on “BEMYLIGHT” with \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Rexx Life Raj\u003c/a>, he brings back the blap based on a voice memo of an uguisu bird, also known as a Japanese bush warbler.\u003c/p>\n\u003cfigure id=\"attachment_13976663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo’s 9-year-old rising rap star Ave Rose Haro makes a cameo in Seiji Oda’s music video, filmed at Dimond Park in East Oakland. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Seiji Oda sometimes starts recording a voice memo as soon as he wakes up. “I call it ‘meditation on the mic,'” he says, sometimes taking 20 or 30 minutes of his day to document his waking thoughts. On “time is a spiral, i think,” Seiji Oda convenes two different morning meditations into one philosophical track.\u003c/p>\n\u003cp>“My overarching goal with music,” says Seiji Oda, “is to bring myself more peace, and then to share that with people.”\u003c/p>\n\u003cp>By documenting the sounds of the natural world, adding some drums and sharing it with the people, he’s achieving his goal — one ethereal blap at a time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s ‘Human + Nature’ is \u003ca href=\"https://seijioda.bandcamp.com/album/human-nature\">out now\u003c/a>. He also appears live and on stage multiple times later in the year, at the \u003ca href=\"https://www.instagram.com/p/DJ7TSIkSaER/\" target=\"_blank\" rel=\"noopener\">SF Hip-Hop Festival\u003c/a>, \u003ca href=\"https://fairyland.org/event-calendar/fairyland-for-grownups-with-oaklandish/\" target=\"_blank\" rel=\"noopener\">Fairyland for Grownups\u003c/a> and \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While filming the video for his update of the classic Bay Area love song “\u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\" target=\"_blank\" rel=\"noopener\">Cupcake No Fillin\u003c/a>,” rapper, singer and producer \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> stood in East Oakland’s Dimond Park, wearing a white T-shirt of a pink cupcake crossed out.\u003c/p>\n\u003cp>The creators of the original anti-cupcaking anthem,\u003ca href=\"https://www.instagram.com/thejankgod/\" target=\"_blank\" rel=\"noopener\"> B*Janky\u003c/a> and \u003ca href=\"https://www.instagram.com/fathajefe/\" target=\"_blank\" rel=\"noopener\">F.A. Tha Jefe\u003c/a> of the \u003ca href=\"https://www.instagram.com/officialtrunkboiz/?hl=en\" target=\"_blank\" rel=\"noopener\">Trunk Boiz\u003c/a>, stood nearby, surrounded by over two dozen people — musicians, dancers and community members. Some held cupcakes, others held scraper bikes; all of them chanted the song’s hook: \u003cem>Cupcake no fillin’ / I ain’t got time, ’cause I got a lot of women\u003c/em>.\u003c/p>\n\u003cp>Seiji Oda took out his phone and started recording.\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/C_HkJhiULLU'\n title='//www.youtube.com/embed/C_HkJhiULLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I wanted to capture that energy,” he says during a recent phone call. He then added that audio to “no fillins²,” a standout track from his latest album, \u003ca href=\"https://open.spotify.com/album/4nEuPqxYGQt3FLw8sOk6sQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Human + Nature\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s Seiji Oda burst into national consciousness last year with his lo-fi hit “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>,” which tamed the chaos of hyphy in favor of centered, Zen-like atmospherics. Fans dubbed it “therapeutic thizzing”; on its viral journey, it was reposted widely, including by SZA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For his follow-up, the 27-year-old of Japanese-Irish-Panamanian descent coalesced the sounds of Japanese babbling brooks and warbler birds, as well as Brazilian baile funk and Bay Area blap. \u003cem>Human + Nature\u003c/em> has pop rifts and 808 kicks, a smattering of top-tier Bay Area features and philosophical bars about love. There’s his grandmother’s piano, tranquil harmonizing and player lines like “Good hygiene / baby I stay flossing.”\u003c/p>\n\u003cp>And most of it started with voice notes. His field recordings of birdsong or the ocean would serve as a starting point for a song. “And then,” he says, “I’d kind of see where that takes me.”\u003c/p>\n\u003cfigure id=\"attachment_13976660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976660 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-800x530.jpg\" alt=\"People gathered at a park\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0034.jpg 1545w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘gentle gigg’ general himself, Seiji Oda (A’s hat, center) among people gathered at Dimond Park for the video shoot of ‘no fillins².’ \u003ccite>(Kenny Ko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the song “a leaf is a lung,” he recorded the sound of waves crashing, matched the soundscape with chords played on a keyboard and then imagined what sort of lyrics he’d spit if he were in that environment.\u003c/p>\n\u003cp>“It just made me feel kind of tropical,” he says, “so I sang.”\u003c/p>\n\u003cp>Seiji Oda laid down lead and background vocals, then sampled himself and sang over it again. He then added some “mobby drums,” providing the combination of aggressive bass-heavy percussion and airy-melodic vocals that’s a staple in his music, he calls it “ethereal blap.”\u003c/p>\n\u003cp>His love for hard-hitting drums is evident in the lead single “peaceful³,” featuring Vallejo’s\u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>. On \u003cem>Human + Nature\u003c/em>, Seiji Oda changes up the drums on the second verse to sound like Mac Dre’s “\u003ca href=\"https://www.youtube.com/watch?v=V7N0J7o0z7U\" target=\"_blank\" rel=\"noopener\">Boss Tycoon\u003c/a>,” underscoring LaRussell’s Furly Ghost-like flow.\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/BFUOi6fEEq8'\n title='//www.youtube.com/embed/BFUOi6fEEq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seiji Oda refers to “peaceful³” as the heartbeat of the album, a song that segues seamlessly into the following track “Bossa Nova,” which illustrates his influences beyond the Bay.\u003c/p>\n\u003cp>“I’ve been listening to so much baile funk,” says Seiji Oda, discussing the track he co-produced with Kiron KP and Quinn Carroll. Steeped in the Brazilian martial art of Capoeira since a kid, Seiji Oda notes that “Brazilian music– baile funk and bossa nova– they’re all kind of intertwined. So, I’ve been super inspired by that music lately.”\u003c/p>\n\u003cfigure id=\"attachment_13976661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976661 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0607-scaled-e1747944502890.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer and social media influencer Junebug pulled up to Seiji Oda’s ‘no fillins²’ video shoot in a huge Hyphy 101 t-shirt. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On “green tea,” featuring Union City’s \u003ca href=\"https://www.instagram.com/officialkiyomi/?hl=en\" target=\"_blank\" rel=\"noopener\">Kiyomi\u003c/a>, a seemingly normal pop song packs a punch as the duo floats over their shared love of Bay Area bass. While making “ahead of myself” with Sacramento’s \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener\">Nate Curry\u003c/a>, Seiji Oda was inspired by his guest’s alien-like way of freely layering harmonies on a track.\u003c/p>\n\u003cp>Then there’s “MOBBY MIYAZAKI,” with San Francisco’s \u003ca href=\"https://www.instagram.com/y0ungbari/?hl=en\" target=\"_blank\" rel=\"noopener\">Young Bari\u003c/a>, in which Seiji Oda pulls from another Bay Area classic — \u003ca href=\"https://soundcloud.com/youngbari/so-mobby-feat-fillmoe-rocky-prod-tfdr\" target=\"_blank\" rel=\"noopener\">Young Bari’s “So Mobby”\u003c/a> — and pairs it with a flip of Joe Hisaishi’s music from Studio Ghibli films directed by legendary Japanese animator Hayao Miyazaki.\u003c/p>\n\u003cp>Seiji Oda even returned to his grandmother’s house in Japan for a spark of creativity. Her voice is layered into the mix of the minute-long interlude “yaki yasai (obaachan’s piano),” recorded while she was cooking. “I just wanted to capture that moment,” he says, “it just felt really intimate.”\u003c/p>\n\u003cp>And on “BEMYLIGHT” with \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Rexx Life Raj\u003c/a>, he brings back the blap based on a voice memo of an uguisu bird, also known as a Japanese bush warbler.\u003c/p>\n\u003cfigure id=\"attachment_13976663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_0602-scaled-e1747944615703.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo’s 9-year-old rising rap star Ave Rose Haro makes a cameo in Seiji Oda’s music video, filmed at Dimond Park in East Oakland. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Seiji Oda sometimes starts recording a voice memo as soon as he wakes up. “I call it ‘meditation on the mic,'” he says, sometimes taking 20 or 30 minutes of his day to document his waking thoughts. On “time is a spiral, i think,” Seiji Oda convenes two different morning meditations into one philosophical track.\u003c/p>\n\u003cp>“My overarching goal with music,” says Seiji Oda, “is to bring myself more peace, and then to share that with people.”\u003c/p>\n\u003cp>By documenting the sounds of the natural world, adding some drums and sharing it with the people, he’s achieving his goal — one ethereal blap at a time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s ‘Human + Nature’ is \u003ca href=\"https://seijioda.bandcamp.com/album/human-nature\">out now\u003c/a>. He also appears live and on stage multiple times later in the year, at the \u003ca href=\"https://www.instagram.com/p/DJ7TSIkSaER/\" target=\"_blank\" rel=\"noopener\">SF Hip-Hop Festival\u003c/a>, \u003ca href=\"https://fairyland.org/event-calendar/fairyland-for-grownups-with-oaklandish/\" target=\"_blank\" rel=\"noopener\">Fairyland for Grownups\u003c/a> and \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the span of just 30 days, multitalented Oakland-raised artist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a> wrote her most recent album \u003ca href=\"https://open.spotify.com/album/31xPuOzRvLvNLJKm69rNmc\" target=\"_blank\" rel=\"noopener\">\u003cem>#YoursTruly\u003c/em>\u003c/a> — and then dropped it on her on most recent birthday.\u003c/p>\n\u003cp>Inspired by the book \u003ca href=\"https://www.npr.org/2023/09/05/1193447515/the-artists-way\" target=\"_blank\" rel=\"noopener\">\u003cem>The Artist’s Way\u003c/em>\u003c/a>, recently \u003ca href=\"https://www.vulture.com/article/doechii-crazy-persuasive-profile.html\" target=\"_blank\" rel=\"noopener\">re-popularized by rap star Doechii\u003c/a>, \u003cem>#YoursTruly\u003c/em> is the definition of multifaceted.\u003c/p>\n\u003cp>Reflecting on the finished project — “a grown woman album,” in her words — RyanNicole says, simply, “I like me at this age.”\u003c/p>\n\u003cp>As she should. RyanNicole is a true lyricist. She’s also an event host and civically engaged activist who is rooted in her religious beliefs, her community and her family. Well-studied in the theatre arts, she’s also a writer and actor in the musical \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/co-founders/\" target=\"_blank\" rel=\"noopener\">\u003cem>Co-Founders\u003c/em>\u003c/a>, which premieres at ACT in San Francisco on May 29 and runs through July 6.\u003c/p>\n\u003cfigure id=\"attachment_13976677\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16.jpg\" alt=\"\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16-160x160.jpg 160w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">The cover art for RyanNicole’s ‘#YoursTruly.’ \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for her first album in nearly a decade, she has bars for the hip-hop heads alongside intimate lyrics for the poetry fans. She sings love songs and quotes luminaries. She calls peace into her life, and calls out community members and politicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s the title track, “the heaviest song on the album,” she says, dedicated to those who’ve taken their own lives — or considered it.\u003c/p>\n\u003cp>RyanNicole is open about her bouts with depression, and how she’s never reached that unfortunate point. But too many family and community members have, and it’s clear that we, as Black folks, don’t talk about it enough.\u003c/p>\n\u003cp>“Growing up,” RyanNicole says via phone, “suicide wasn’t something that our people talked about.” The “folklore,” she says in audible air-quotes, was that “it was something we didn’t do.” Except that it is. \u003ca href=\"https://wisqars.cdc.gov/lcd/\" target=\"_blank\" rel=\"noopener\">As of 2023\u003c/a>, suicide is the third leading cause of death among African Americans aged 15–34.\u003c/p>\n\u003cfigure id=\"attachment_13976676\" class=\"wp-caption aligncenter\" style=\"max-width: 791px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1.jpg\" alt=\"\" width=\"791\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1.jpg 791w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1-768x965.jpg 768w\" sizes=\"auto, (max-width: 791px) 100vw, 791px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole in performance. \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the song, RyanNicole addresses the steps that lead people to suicide, as well as the community’s responsibility. It sits in the middle of an album that shows all directions of RyanNicole’s artistic ability; immediately following is a tranquil exhale titled “Peace Be Still,” a pause to acknowledge the surrounding beauty, inspired by \u003ca href=\"https://www.socratic-method.com/quote-meanings-interpretations/alice-walker-i-think-it-pisses-god-off-if-you-walk-by-the-color-purple-in-a-field-somewhere-and-dont-notice-it\">Alice Walker’s quote about noticing the color purple\u003c/a>.\u003c/p>\n\u003cp>“Being a Black woman, being a mother, being wife — there’s a lot of responsibility,” RyanNicole says. “Peace is not a passive thing. You have to call it into your life as aggressively as you would call violence into your life.”\u003c/p>\n\u003cp>“Peace Be Still” is the polar opposite of the album’s opening track, “Chip” — as in, the chip on RyanNicole’s shoulder.\u003c/p>\n\u003cp>[aside postID='arts_13930886']“How you put the star on the cutting room floor? / No wonder every shot you take is always hella subpar / I was taught to stay humble, the meek shall inherit the earth / but being meek won’t bring my meals / Now run my check, I know my worth,” she says on the album’s first song, “Chip.”\u003c/p>\n\u003cp>“I’ve \u003cem>been\u003c/em> pissed off about the state of my town,” RyanNicole says, reflecting on the energy that went into the song “Chip.” She’s seen elected officials make promises without any follow-through, and people make righteous complaints while failing to do the legwork to change things.\u003c/p>\n\u003cp>The song opens an album that she calls a love letter, but RyanNicole is clear: Love is a double-edged sword, of affection and accountability. “People think love is sentimental and soft,” she explains. “It’s not always that.”\u003c/p>\n\u003cfigure id=\"attachment_13976675\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976675\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2.jpg\" alt=\"\" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2-160x213.jpg 160w\" sizes=\"auto, (max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole. \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the song “Guard Down,” though, RyanNicole explores the traditional romantic side of this thing we call love — specifically, the love of she and her husband. At a point in her life when she was done with love, a good girl scorned, she was headed into her “player era” when she met Michael, now her husband of 15 years. She thought he’d be the first person on her list of names during her player phase. Instead, “he ended up being the last person I ever wanted to kiss.”\u003c/p>\n\u003cp>That song is followed by “Carmel,” a glimpse into the couple’s relationship 10 years later: busy working parents in the throes of life, but still making an effort to be romantic amid it all.\u003c/p>\n\u003cp>[aside postID='arts_13975538']The idea of “it all” is present in a lot of RyanNicole’s music.\u003c/p>\n\u003cp>On “Thief’s Theme Pt. 2,” she surmises that “we all have a bit of larceny in us.” On “Kiss The Ground,” she counts her blessings, grateful for even the smallest acts. And on the album’s final track, “Apocalypse/ New Era (Remastered),” she recounts the “scary emotions” of the past two decades in this country; a period with glimpses of a Black renaissance, as well as a pendulum swing back toward the post-Reconstruction Era.\u003c/p>\n\u003cp>The track is ultimately a call for spiritual reckoning, and for humans to be in harmony with each other and the planet.\u003c/p>\n\u003cp>“Even in this time, where things are dark,” she says, emphasizing that the news is readily full of things to be sad about, “there’s still hope.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>RyanNicole’s ‘#YoursTruly’ is \u003ca href=\"https://ryannicole.bandcamp.com/album/yourstruly\">out now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the span of just 30 days, multitalented Oakland-raised artist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a> wrote her most recent album \u003ca href=\"https://open.spotify.com/album/31xPuOzRvLvNLJKm69rNmc\" target=\"_blank\" rel=\"noopener\">\u003cem>#YoursTruly\u003c/em>\u003c/a> — and then dropped it on her on most recent birthday.\u003c/p>\n\u003cp>Inspired by the book \u003ca href=\"https://www.npr.org/2023/09/05/1193447515/the-artists-way\" target=\"_blank\" rel=\"noopener\">\u003cem>The Artist’s Way\u003c/em>\u003c/a>, recently \u003ca href=\"https://www.vulture.com/article/doechii-crazy-persuasive-profile.html\" target=\"_blank\" rel=\"noopener\">re-popularized by rap star Doechii\u003c/a>, \u003cem>#YoursTruly\u003c/em> is the definition of multifaceted.\u003c/p>\n\u003cp>Reflecting on the finished project — “a grown woman album,” in her words — RyanNicole says, simply, “I like me at this age.”\u003c/p>\n\u003cp>As she should. RyanNicole is a true lyricist. She’s also an event host and civically engaged activist who is rooted in her religious beliefs, her community and her family. Well-studied in the theatre arts, she’s also a writer and actor in the musical \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/co-founders/\" target=\"_blank\" rel=\"noopener\">\u003cem>Co-Founders\u003c/em>\u003c/a>, which premieres at ACT in San Francisco on May 29 and runs through July 6.\u003c/p>\n\u003cfigure id=\"attachment_13976677\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16.jpg\" alt=\"\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/a1786616852_16-160x160.jpg 160w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">The cover art for RyanNicole’s ‘#YoursTruly.’ \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for her first album in nearly a decade, she has bars for the hip-hop heads alongside intimate lyrics for the poetry fans. She sings love songs and quotes luminaries. She calls peace into her life, and calls out community members and politicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s the title track, “the heaviest song on the album,” she says, dedicated to those who’ve taken their own lives — or considered it.\u003c/p>\n\u003cp>RyanNicole is open about her bouts with depression, and how she’s never reached that unfortunate point. But too many family and community members have, and it’s clear that we, as Black folks, don’t talk about it enough.\u003c/p>\n\u003cp>“Growing up,” RyanNicole says via phone, “suicide wasn’t something that our people talked about.” The “folklore,” she says in audible air-quotes, was that “it was something we didn’t do.” Except that it is. \u003ca href=\"https://wisqars.cdc.gov/lcd/\" target=\"_blank\" rel=\"noopener\">As of 2023\u003c/a>, suicide is the third leading cause of death among African Americans aged 15–34.\u003c/p>\n\u003cfigure id=\"attachment_13976676\" class=\"wp-caption aligncenter\" style=\"max-width: 791px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1.jpg\" alt=\"\" width=\"791\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1.jpg 791w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-1-768x965.jpg 768w\" sizes=\"auto, (max-width: 791px) 100vw, 791px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole in performance. \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the song, RyanNicole addresses the steps that lead people to suicide, as well as the community’s responsibility. It sits in the middle of an album that shows all directions of RyanNicole’s artistic ability; immediately following is a tranquil exhale titled “Peace Be Still,” a pause to acknowledge the surrounding beauty, inspired by \u003ca href=\"https://www.socratic-method.com/quote-meanings-interpretations/alice-walker-i-think-it-pisses-god-off-if-you-walk-by-the-color-purple-in-a-field-somewhere-and-dont-notice-it\">Alice Walker’s quote about noticing the color purple\u003c/a>.\u003c/p>\n\u003cp>“Being a Black woman, being a mother, being wife — there’s a lot of responsibility,” RyanNicole says. “Peace is not a passive thing. You have to call it into your life as aggressively as you would call violence into your life.”\u003c/p>\n\u003cp>“Peace Be Still” is the polar opposite of the album’s opening track, “Chip” — as in, the chip on RyanNicole’s shoulder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“How you put the star on the cutting room floor? / No wonder every shot you take is always hella subpar / I was taught to stay humble, the meek shall inherit the earth / but being meek won’t bring my meals / Now run my check, I know my worth,” she says on the album’s first song, “Chip.”\u003c/p>\n\u003cp>“I’ve \u003cem>been\u003c/em> pissed off about the state of my town,” RyanNicole says, reflecting on the energy that went into the song “Chip.” She’s seen elected officials make promises without any follow-through, and people make righteous complaints while failing to do the legwork to change things.\u003c/p>\n\u003cp>The song opens an album that she calls a love letter, but RyanNicole is clear: Love is a double-edged sword, of affection and accountability. “People think love is sentimental and soft,” she explains. “It’s not always that.”\u003c/p>\n\u003cfigure id=\"attachment_13976675\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976675\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2.jpg\" alt=\"\" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/unnamed-2-160x213.jpg 160w\" sizes=\"auto, (max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole. \u003ccite>(Courtesy of RyanNicole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the song “Guard Down,” though, RyanNicole explores the traditional romantic side of this thing we call love — specifically, the love of she and her husband. At a point in her life when she was done with love, a good girl scorned, she was headed into her “player era” when she met Michael, now her husband of 15 years. She thought he’d be the first person on her list of names during her player phase. Instead, “he ended up being the last person I ever wanted to kiss.”\u003c/p>\n\u003cp>That song is followed by “Carmel,” a glimpse into the couple’s relationship 10 years later: busy working parents in the throes of life, but still making an effort to be romantic amid it all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea of “it all” is present in a lot of RyanNicole’s music.\u003c/p>\n\u003cp>On “Thief’s Theme Pt. 2,” she surmises that “we all have a bit of larceny in us.” On “Kiss The Ground,” she counts her blessings, grateful for even the smallest acts. And on the album’s final track, “Apocalypse/ New Era (Remastered),” she recounts the “scary emotions” of the past two decades in this country; a period with glimpses of a Black renaissance, as well as a pendulum swing back toward the post-Reconstruction Era.\u003c/p>\n\u003cp>The track is ultimately a call for spiritual reckoning, and for humans to be in harmony with each other and the planet.\u003c/p>\n\u003cp>“Even in this time, where things are dark,” she says, emphasizing that the news is readily full of things to be sad about, “there’s still hope.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>RyanNicole’s ‘#YoursTruly’ is \u003ca href=\"https://ryannicole.bandcamp.com/album/yourstruly\">out now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "were-not-just-one-thing-goapele-on-the-bay-areas-eternal-inspiration",
"title": "‘We’re Not Just One Thing’: Goapele on the Bay Area’s Eternal Inspiration",
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"content": "\u003cp>Nearly a quarter-century after its release, \u003ca href=\"https://www.goapele.com/\" target=\"_blank\" rel=\"noopener\">Goapele’s\u003c/a> “Closer” continues to soundtrack people’s lives, from weddings to graduations. The song can be readily heard blasting from sound systems in the backs of Buicks in the Town, and uptempo house music remixes of it play constantly in sweaty nightclubs from London to Johannesburg.\u003c/p>\n\u003cp>Late this month, the Oakland singer and songwriter will perform older and newer music alike — and of course, “Closer” — during a \u003ca href=\"https://yoshis.com/events/buy-tickets/goapele-2/detail\" target=\"_blank\" rel=\"noopener\">May 23 and 24 residency at Yoshis’ jazz club in Oakland\u003c/a>.\u003c/p>\n\u003cp>A few weeks ago, \u003ca href=\"https://www.instagram.com/p/DJHRCpnthh6/\" target=\"_blank\" rel=\"noopener\">multiple Instagram accounts\u003c/a> began claiming that “Closer” was the first-ever music video by an African-American woman to be uploaded to YouTube.\u003c/p>\n\u003cp>“I wasn’t aware of it at the time,” Goapele tells me by phone. “But apparently this is true.”\u003c/p>\n\u003cfigure id=\"attachment_13976022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13976022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-800x534.jpg\" alt=\"A woman on stage performing in front of a microphone. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Goapele is excited to return to the stage in Oakland. \u003ccite>(Kristopher \"Squint\" Sandifer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Produced by Amp-Live and Mike Tiger, “Closer” was released on three different labels and had three different music videos. The track has since been sampled by artists ranging from Drake to H.E.R., and the song’s legend only continues to grow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s folks like \u003ca href=\"https://www.instagram.com/dnice/?hl=en\" target=\"_blank\" rel=\"noopener\">[DJ] D-Nice\u003c/a>,” Goapele says of the legendary New York DJ, “that are like, ‘I just learned about your song,’” she says, laughing. “And I’ve known him for years.”\u003c/p>\n\u003cp>Musical longevity is what Goapele hoped for back when she was honing her pen game as a student at Oakland’s Skyline High School and Berklee College of Music. “At one point it was new music,” she says, reflecting on the process of writing “Closer.”\u003c/p>\n\u003cp>“It’s really humbling that it’s still resonating with people.”\u003c/p>\n\u003cp>[aside postID='arts_13932465']Now based in Los Angeles, Goapele is looking forward to her first solo show in Oakland after time away. In the past couple of years, she’s done private performances with Oakland’s \u003ca href=\"https://rootscommunityhealth.org/\" target=\"_blank\" rel=\"noopener\">Roots Community Health Clinic\u003c/a> in East Oakland. She rocked the Lake Merritt bandshell at a free event hosted by social justice nonprofit \u003ca href=\"https://urbanpeacemovement.org/\" target=\"_blank\" rel=\"noopener\">Urban Peace Movement\u003c/a>. She’s also worked with local soccer team the \u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener\">Oakland Roots\u003c/a>, and new WNBA team the \u003ca href=\"https://valkyries.wnba.com/\" target=\"_blank\" rel=\"noopener\">Golden State Valkyries\u003c/a>.\u003c/p>\n\u003cp>But a full solo show at Yoshi’s is special. Performing at home gives her an opportunity to experiment, lean into song arrangements and collaborate with special guests. “I feel like at Yoshi’s,” Goapele says excitedly, “I kind of stretch out a little bit.”\u003c/p>\n\u003cp>In addition to preparing for this show, she’s also working on new music — songs more connected to the African Diaspora.\u003c/p>\n\u003cp>“Half of my family is still in South Africa,” says Goapele, whose father, Douglas Mohlabane, was an exiled anti-apartheid activist. She’s long felt the urge to make music reflective of her family’s homeland, and now she’s on the verge of sharing some of it. She mentions a song “a little more in the Afrobeats vein,” produced by Oakland’s \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13250512\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani.jpg\" alt=\"Goapele and Kehlani backstage at the Fox Theater in 2015, after Goapele appeared as a special guest of the singer.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-150x150.jpg 150w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Goapele and Kehlani backstage at the Fox Theater in 2015, after Goapele appeared as a special guest of the singer. \u003ccite>(Goapele/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s latest album \u003ca href=\"https://open.spotify.com/album/2xF9wlV17S9GuId8WTTxSp\" target=\"_blank\" rel=\"noopener\">\u003cem>Colours\u003c/em>\u003c/a> dropped in November of 2023, its artwork a collaboration with renowned Oakland-based visual artist \u003ca href=\"https://hueman.art/\" target=\"_blank\" rel=\"noopener\">Hueman\u003c/a>.\u003c/p>\n\u003cp>Hueman’s immersive artwork spoke to Goapele’s own experimentation with different modalities; at the time, she was pairing scented candles with her music “as a way to evoke a feeling past just the sound.”\u003c/p>\n\u003cp>After teaming up for an immersive experience at \u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener\">Ciel Creative Space\u003c/a> in Berkeley, the two completed \u003cem>Colours\u003c/em>. “It just felt very synergistic,” recalls Goapele. “I see music in colors,” she adds, “and I never was able to really express it on a project.”\u003c/p>\n\u003cp>Beyond her many collaborators from the Bay’s shared home turf, Goapele says it’s imperative that she works with people who speak the same cultural, creative and moral language, whether or not they’re from the Bay Area.\u003c/p>\n\u003cp>She credits this region’s natural scenery — redwood trees, huge bodies of water — as inspirations, coupled with the Bay’s history of grassroots activism and the recent elections of Congresswoman Lateefah Simon and Oakland Mayor Barbara Lee.\u003c/p>\n\u003cp>“And,” she adds, “I grew up at underground hip-hop shows at La Peña, watching jazz shows and listening to Tony! Toni! Toné!”\u003c/p>\n\u003cp>It all adds up to to what she describes as a “resilient, rebellious, eclectic spirit,” where there’s ample room to be an individual — something she’s tapping into for her next performance and forthcoming project.\u003c/p>\n\u003cp>“We’re not just one thing,” she says in reference to Bay Area culture, “we’re all of that. And we get to be complex, ya know?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goapele performs four shows total on May 23 and 24 at Yoshi’s in Oakland. \u003ca href=\"https://yoshis.com/events/buy-tickets/goapele-2/detail\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "‘We’re Not Just One Thing’: Goapele on the Bay Area’s Eternal Inspiration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly a quarter-century after its release, \u003ca href=\"https://www.goapele.com/\" target=\"_blank\" rel=\"noopener\">Goapele’s\u003c/a> “Closer” continues to soundtrack people’s lives, from weddings to graduations. The song can be readily heard blasting from sound systems in the backs of Buicks in the Town, and uptempo house music remixes of it play constantly in sweaty nightclubs from London to Johannesburg.\u003c/p>\n\u003cp>Late this month, the Oakland singer and songwriter will perform older and newer music alike — and of course, “Closer” — during a \u003ca href=\"https://yoshis.com/events/buy-tickets/goapele-2/detail\" target=\"_blank\" rel=\"noopener\">May 23 and 24 residency at Yoshis’ jazz club in Oakland\u003c/a>.\u003c/p>\n\u003cp>A few weeks ago, \u003ca href=\"https://www.instagram.com/p/DJHRCpnthh6/\" target=\"_blank\" rel=\"noopener\">multiple Instagram accounts\u003c/a> began claiming that “Closer” was the first-ever music video by an African-American woman to be uploaded to YouTube.\u003c/p>\n\u003cp>“I wasn’t aware of it at the time,” Goapele tells me by phone. “But apparently this is true.”\u003c/p>\n\u003cfigure id=\"attachment_13976022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13976022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-800x534.jpg\" alt=\"A woman on stage performing in front of a microphone. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/download.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Goapele is excited to return to the stage in Oakland. \u003ccite>(Kristopher \"Squint\" Sandifer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Produced by Amp-Live and Mike Tiger, “Closer” was released on three different labels and had three different music videos. The track has since been sampled by artists ranging from Drake to H.E.R., and the song’s legend only continues to grow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s folks like \u003ca href=\"https://www.instagram.com/dnice/?hl=en\" target=\"_blank\" rel=\"noopener\">[DJ] D-Nice\u003c/a>,” Goapele says of the legendary New York DJ, “that are like, ‘I just learned about your song,’” she says, laughing. “And I’ve known him for years.”\u003c/p>\n\u003cp>Musical longevity is what Goapele hoped for back when she was honing her pen game as a student at Oakland’s Skyline High School and Berklee College of Music. “At one point it was new music,” she says, reflecting on the process of writing “Closer.”\u003c/p>\n\u003cp>“It’s really humbling that it’s still resonating with people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now based in Los Angeles, Goapele is looking forward to her first solo show in Oakland after time away. In the past couple of years, she’s done private performances with Oakland’s \u003ca href=\"https://rootscommunityhealth.org/\" target=\"_blank\" rel=\"noopener\">Roots Community Health Clinic\u003c/a> in East Oakland. She rocked the Lake Merritt bandshell at a free event hosted by social justice nonprofit \u003ca href=\"https://urbanpeacemovement.org/\" target=\"_blank\" rel=\"noopener\">Urban Peace Movement\u003c/a>. She’s also worked with local soccer team the \u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener\">Oakland Roots\u003c/a>, and new WNBA team the \u003ca href=\"https://valkyries.wnba.com/\" target=\"_blank\" rel=\"noopener\">Golden State Valkyries\u003c/a>.\u003c/p>\n\u003cp>But a full solo show at Yoshi’s is special. Performing at home gives her an opportunity to experiment, lean into song arrangements and collaborate with special guests. “I feel like at Yoshi’s,” Goapele says excitedly, “I kind of stretch out a little bit.”\u003c/p>\n\u003cp>In addition to preparing for this show, she’s also working on new music — songs more connected to the African Diaspora.\u003c/p>\n\u003cp>“Half of my family is still in South Africa,” says Goapele, whose father, Douglas Mohlabane, was an exiled anti-apartheid activist. She’s long felt the urge to make music reflective of her family’s homeland, and now she’s on the verge of sharing some of it. She mentions a song “a little more in the Afrobeats vein,” produced by Oakland’s \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13250512\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani.jpg\" alt=\"Goapele and Kehlani backstage at the Fox Theater in 2015, after Goapele appeared as a special guest of the singer.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Goapele.Kehlani-150x150.jpg 150w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Goapele and Kehlani backstage at the Fox Theater in 2015, after Goapele appeared as a special guest of the singer. \u003ccite>(Goapele/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s latest album \u003ca href=\"https://open.spotify.com/album/2xF9wlV17S9GuId8WTTxSp\" target=\"_blank\" rel=\"noopener\">\u003cem>Colours\u003c/em>\u003c/a> dropped in November of 2023, its artwork a collaboration with renowned Oakland-based visual artist \u003ca href=\"https://hueman.art/\" target=\"_blank\" rel=\"noopener\">Hueman\u003c/a>.\u003c/p>\n\u003cp>Hueman’s immersive artwork spoke to Goapele’s own experimentation with different modalities; at the time, she was pairing scented candles with her music “as a way to evoke a feeling past just the sound.”\u003c/p>\n\u003cp>After teaming up for an immersive experience at \u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener\">Ciel Creative Space\u003c/a> in Berkeley, the two completed \u003cem>Colours\u003c/em>. “It just felt very synergistic,” recalls Goapele. “I see music in colors,” she adds, “and I never was able to really express it on a project.”\u003c/p>\n\u003cp>Beyond her many collaborators from the Bay’s shared home turf, Goapele says it’s imperative that she works with people who speak the same cultural, creative and moral language, whether or not they’re from the Bay Area.\u003c/p>\n\u003cp>She credits this region’s natural scenery — redwood trees, huge bodies of water — as inspirations, coupled with the Bay’s history of grassroots activism and the recent elections of Congresswoman Lateefah Simon and Oakland Mayor Barbara Lee.\u003c/p>\n\u003cp>“And,” she adds, “I grew up at underground hip-hop shows at La Peña, watching jazz shows and listening to Tony! Toni! Toné!”\u003c/p>\n\u003cp>It all adds up to to what she describes as a “resilient, rebellious, eclectic spirit,” where there’s ample room to be an individual — something she’s tapping into for her next performance and forthcoming project.\u003c/p>\n\u003cp>“We’re not just one thing,” she says in reference to Bay Area culture, “we’re all of that. And we get to be complex, ya know?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goapele performs four shows total on May 23 and 24 at Yoshi’s in Oakland. \u003ca href=\"https://yoshis.com/events/buy-tickets/goapele-2/detail\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rich-city-studios-indie-auxperience",
"title": "At the Indie Auxperience, Musicians Find New Ways to Be Heard",
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"headTitle": "At the Indie Auxperience, Musicians Find New Ways to Be Heard | KQED",
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"content": "\u003cp>We’re on the cusp of summertime here in the United States, and a few things are extremely clear: we know, now more than ever, “freedom of speech” isn’t free. Artists, musicians especially, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">struggle to finance themselves\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">find ways to be heard\u003c/a>. Meanwhile, we’re living through what the U.S. surgeon general \u003ca href=\"https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf\">recently called\u003c/a> a loneliness epidemic.\u003c/p>\n\u003cp>So last month when I pulled up to the Rich City Studios’ \u003ca href=\"https://bio.to/IndieAuxperience\">Indie Auxperience\u003c/a>, an industry mixer and talent showcase held on Treasure Island, I was relieved to see artists coming together, expressing themselves and creating ways to generate revenue.\u003c/p>\n\u003cp>I nodded along as \u003ca href=\"https://www.instagram.com/ladymafbarbiethic415/\">Lady Maf\u003c/a> spit bars from her song “\u003ca href=\"https://www.youtube.com/watch?v=qUXiIen0-No\">I Been Thuggin’\u003c/a>.” I talked about Bay Area fashion with Trav Lyrics (a.k.a. \u003ca href=\"https://www.instagram.com/yaboyblackice/\" target=\"_blank\" rel=\"noopener\">Ya Boy Black Ice\u003c/a>), a Richmond hip-hop artist and owner of \u003ca href=\"https://www.instagram.com/41510brand/\" target=\"_blank\" rel=\"noopener\">The 41510 Brand\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976365 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg\" alt=\"A man poses for a photo while holding a pair of glasses toward the camera.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Trav Lyrics (aka Ya Boy Black Ice) holds a pair of glasses from The 41510 Brand, a division of his #ArtifactsByTravlyrics. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then I took in a performance by \u003ca href=\"https://www.instagram.com/kaaylalynnmusic\">Kaayla Lynn\u003c/a>, a sultry R&B singer who did two songs, “\u003ca href=\"https://www.youtube.com/watch?v=9aL-nx95E6E\">Away\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JNgE5Lf_OwU\">Girl of Your Dreams\u003c/a>.”\u003c/p>\n\u003cp>A performing vocalist since her freshman year at college in Atlanta, Kaayla Lynn had taken a hiatus from her craft for the past few years. But on the heels of losing a loved one last spring, the East Bay-based singer and songwriter recommitted herself to her art in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While working as an elementary school music teacher and raising a child doesn’t leave much time for performing, Kaayla Lynn finds ways to stay active. She sings in a choir and at karaoke spots. But she says it’s hard to get her original songs heard.\u003c/p>\n\u003cp>[aside postID='arts_13976039']So she signed up for the Indie Auxperience, choosing to hop on stage and sing her heart out for a crowd beside an amazing view of the San Francisco skyline.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richcitystudios/\">Rich City Studios\u003c/a> owner \u003ca href=\"https://www.instagram.com/chucktbeats/\">Charles “ChuckT” Turner\u003c/a> created the Indie Auxperience to offer artists more than just a stage and an audience.\u003c/p>\n\u003cp>“At many open mics,” he says via phone, “you’re performing in front of other artists who are just trying to get their stuff off.”\u003c/p>\n\u003cfigure id=\"attachment_13976364\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg\" alt=\"A man in a red dress shirt stands and poses for a photo.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Chuck T, owner of Rich City Studios, stops for a photo while hosting an industry mixer and talent showcase. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A music producer I’ve known since we were teens, ChuckT wants the Indie Auxperience to be a industry pathway for the participating artists.\u003c/p>\n\u003cp>Attendees pay a sliding-scale fee, ranging from $14–$108. After the event, ChuckT compiles a \u003ca href=\"https://open.spotify.com/playlist/55jZEPWz20JXRlEd0FhUDn?si=tY-Ut5p9Ty6tPTg9mSfXsg&nd=1&dlsi=466ad46f8f924898\">playlist of the performers’ music\u003c/a> and strategically sends it to contacts at radio stations around the nation. He also arranges artist interviews with \u003ca href=\"https://www.instagram.com/corkys_keeperr/\">Kyrie Grayson\u003c/a>’s FN2S (From Nothing to Something Network), which focuses on unheard talent.\u003c/p>\n\u003cp>ChuckT says that in addition to gaining new fans, receiving constructive feedback and putting yourself in a position to make some sales, artists also reap the benefits of industry knowledge and connecting other artists.\u003c/p>\n\u003cp>Which is important, because making music can be a lonely process.\u003c/p>\n\u003cp>“You’re sitting in your house, and you’re working and you’re working,” he says, “if you’ve been a hermit because of your creative process, you can come out to one of these events, meet people, follow them and find out what open mics they’re going to later.”\u003c/p>\n\u003cfigure id=\"attachment_13976363\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg\" alt=\"A man in a blue jacket and yellow shirt poses for a photo on a sunny day.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">MC Azkia Malik poses for a photo on a sunny day on Treasure Island. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That much is true for Kaayla Lynn, who subscribes to the old adage, “It’s not always what you know, it’s who you know.”\u003c/p>\n\u003cp>At the Indie Auxperience, she met people who make merchandise, design websites, print posters and create content. She also met \u003ca href=\"https://www.instagram.com/azkia_malik/\">Azkia Malik\u003c/a>, who performed his song “\u003ca href=\"https://www.youtube.com/watch?v=mqYcBRKbcaE\">Vibes Right\u003c/a>.” Afterward, he invited her to perform at San Francisco’s Boom Boom Room.\u003c/p>\n\u003cp>“And then, that just opened even more doors for people to know me and my music,” Kaayla Lynn says. “When you’re in a place where there’s like-minded individuals, that’ll help you out in the future.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rich City Studios hosts the second Indie Auxperience on Saturday, May 24 at Music City in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/the-indie-auxperience-2-tickets-1333590829069\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re on the cusp of summertime here in the United States, and a few things are extremely clear: we know, now more than ever, “freedom of speech” isn’t free. Artists, musicians especially, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">struggle to finance themselves\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">find ways to be heard\u003c/a>. Meanwhile, we’re living through what the U.S. surgeon general \u003ca href=\"https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf\">recently called\u003c/a> a loneliness epidemic.\u003c/p>\n\u003cp>So last month when I pulled up to the Rich City Studios’ \u003ca href=\"https://bio.to/IndieAuxperience\">Indie Auxperience\u003c/a>, an industry mixer and talent showcase held on Treasure Island, I was relieved to see artists coming together, expressing themselves and creating ways to generate revenue.\u003c/p>\n\u003cp>I nodded along as \u003ca href=\"https://www.instagram.com/ladymafbarbiethic415/\">Lady Maf\u003c/a> spit bars from her song “\u003ca href=\"https://www.youtube.com/watch?v=qUXiIen0-No\">I Been Thuggin’\u003c/a>.” I talked about Bay Area fashion with Trav Lyrics (a.k.a. \u003ca href=\"https://www.instagram.com/yaboyblackice/\" target=\"_blank\" rel=\"noopener\">Ya Boy Black Ice\u003c/a>), a Richmond hip-hop artist and owner of \u003ca href=\"https://www.instagram.com/41510brand/\" target=\"_blank\" rel=\"noopener\">The 41510 Brand\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976365 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg\" alt=\"A man poses for a photo while holding a pair of glasses toward the camera.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Trav Lyrics (aka Ya Boy Black Ice) holds a pair of glasses from The 41510 Brand, a division of his #ArtifactsByTravlyrics. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then I took in a performance by \u003ca href=\"https://www.instagram.com/kaaylalynnmusic\">Kaayla Lynn\u003c/a>, a sultry R&B singer who did two songs, “\u003ca href=\"https://www.youtube.com/watch?v=9aL-nx95E6E\">Away\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JNgE5Lf_OwU\">Girl of Your Dreams\u003c/a>.”\u003c/p>\n\u003cp>A performing vocalist since her freshman year at college in Atlanta, Kaayla Lynn had taken a hiatus from her craft for the past few years. But on the heels of losing a loved one last spring, the East Bay-based singer and songwriter recommitted herself to her art in 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While working as an elementary school music teacher and raising a child doesn’t leave much time for performing, Kaayla Lynn finds ways to stay active. She sings in a choir and at karaoke spots. But she says it’s hard to get her original songs heard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So she signed up for the Indie Auxperience, choosing to hop on stage and sing her heart out for a crowd beside an amazing view of the San Francisco skyline.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richcitystudios/\">Rich City Studios\u003c/a> owner \u003ca href=\"https://www.instagram.com/chucktbeats/\">Charles “ChuckT” Turner\u003c/a> created the Indie Auxperience to offer artists more than just a stage and an audience.\u003c/p>\n\u003cp>“At many open mics,” he says via phone, “you’re performing in front of other artists who are just trying to get their stuff off.”\u003c/p>\n\u003cfigure id=\"attachment_13976364\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg\" alt=\"A man in a red dress shirt stands and poses for a photo.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Chuck T, owner of Rich City Studios, stops for a photo while hosting an industry mixer and talent showcase. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A music producer I’ve known since we were teens, ChuckT wants the Indie Auxperience to be a industry pathway for the participating artists.\u003c/p>\n\u003cp>Attendees pay a sliding-scale fee, ranging from $14–$108. After the event, ChuckT compiles a \u003ca href=\"https://open.spotify.com/playlist/55jZEPWz20JXRlEd0FhUDn?si=tY-Ut5p9Ty6tPTg9mSfXsg&nd=1&dlsi=466ad46f8f924898\">playlist of the performers’ music\u003c/a> and strategically sends it to contacts at radio stations around the nation. He also arranges artist interviews with \u003ca href=\"https://www.instagram.com/corkys_keeperr/\">Kyrie Grayson\u003c/a>’s FN2S (From Nothing to Something Network), which focuses on unheard talent.\u003c/p>\n\u003cp>ChuckT says that in addition to gaining new fans, receiving constructive feedback and putting yourself in a position to make some sales, artists also reap the benefits of industry knowledge and connecting other artists.\u003c/p>\n\u003cp>Which is important, because making music can be a lonely process.\u003c/p>\n\u003cp>“You’re sitting in your house, and you’re working and you’re working,” he says, “if you’ve been a hermit because of your creative process, you can come out to one of these events, meet people, follow them and find out what open mics they’re going to later.”\u003c/p>\n\u003cfigure id=\"attachment_13976363\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg\" alt=\"A man in a blue jacket and yellow shirt poses for a photo on a sunny day.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">MC Azkia Malik poses for a photo on a sunny day on Treasure Island. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That much is true for Kaayla Lynn, who subscribes to the old adage, “It’s not always what you know, it’s who you know.”\u003c/p>\n\u003cp>At the Indie Auxperience, she met people who make merchandise, design websites, print posters and create content. She also met \u003ca href=\"https://www.instagram.com/azkia_malik/\">Azkia Malik\u003c/a>, who performed his song “\u003ca href=\"https://www.youtube.com/watch?v=mqYcBRKbcaE\">Vibes Right\u003c/a>.” Afterward, he invited her to perform at San Francisco’s Boom Boom Room.\u003c/p>\n\u003cp>“And then, that just opened even more doors for people to know me and my music,” Kaayla Lynn says. “When you’re in a place where there’s like-minded individuals, that’ll help you out in the future.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rich City Studios hosts the second Indie Auxperience on Saturday, May 24 at Music City in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/the-indie-auxperience-2-tickets-1333590829069\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13976107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg\" alt=\"A young Filipina woman in a silver top leans over a shiny green surface, her reflection visible\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Growing up in San Lorenzo, 2025 Tiny Desk Contest winner Ruby Ibarra was exposed to a steady stream of Bay Area rap from artists like E-40 and Hieroglyphics. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The winner of NPR’s 2025 Tiny Desk Contest is the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\" target=\"_blank\" rel=\"noopener\">Ruby Ibarra\u003c/a>.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\">research scientist\u003c/a> and fiercely poetic lyricist raised in San Lorenzo, Ibarra raps in English alongside the Filipino languages of Tagalog and Bisaya. Her Tiny Desk Contest-winning track, “\u003ca href=\"https://www.youtube.com/watch?v=IBOPNgYJ9_w\">Bakunawa\u003c/a>,” was inspired by the dragon-like serpent of Philippine mythology.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IBOPNgYJ9_w\u003c/p>\n\u003cp>Ibarra sees the Bakunawa and its \u003ca href=\"https://en.wikipedia.org/wiki/Bakunawa\">banishment from society\u003c/a> as a metaphor for the way that Filipino history, art and culture as a whole is often shunned and cast aside by the mainstream.\u003c/p>\n\u003cp>“I just wanted to flip that story,” Ibarra tells KQED. “And this time around, with this song, I wanted to embody the Bakunawa itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13887169']The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>[aside postID='arts_13905208']Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>[aside postID='arts_13916721']It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973907']It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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