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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. [aside postid='arts_13951091']\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” [aside postID='arts_13932030']\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>[aside postID='arts_13934874']So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Jacka. Nipsey. FAB. 40. Drake. Keak. Wayne. You name 'em, they've probably been photographed by D-Ray.",
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"title": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold | KQED",
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"headline": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-history-of-the-bay-day-party-dregs-one-review",
"title": "Getting 'The Shot' at the History of the Bay Day Party",
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"headTitle": "Getting ‘The Shot’ at the History of the Bay Day Party | KQED",
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"content": "\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n",
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"excerpt": "As Keak Da Sneak got love from the crowd, his smile reflected the whole day's spirit of Bay Area hip-hop.",
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"title": "Photos: History of the Bay Day Party with Keak, Luniz, RBL and More | KQED",
"description": "Pendarvis Harshaw shares photos and reflections from Dregs One's July 9 party in San Francisco with Keak Da Sneak, RBL Posse, Luniz, Mac Mall and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway",
"title": "Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party",
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"headTitle": "Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party | KQED",
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"content": "\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There aren’t many artists in the Bay Area stitching the fabrics of community more colorfully than rapper, graffiti writer and historian \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a>.\u003c/p>\n\u003cp>The proud San Francisco lyricist and social advocate has undertaken one of the more important preservation projects in recent memory with his podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/history-of-the-bay/id1643362991\">History of the Bay\u003c/a>. The series invites an intergenerational cast of Bay Area personalities — including \u003ca href=\"https://www.youtube.com/watch?v=RuJ-CQU-MJE\">P-Lo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=vkK9dYcLjso\">Rocky Rivera\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike\u003c/a> — to discuss their experiences in Bay Area hip-hop, culture and politics with a laid-back, in-the-know flavor.\u003c/p>\n\u003cp>[aside postID='arts_13931387']Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13923938,arts_13931108']With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Performances by the Luniz, Keak Da Sneak, Mac Mall and others celebrate the Bay Area's contributions to hip-hop.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There aren’t many artists in the Bay Area stitching the fabrics of community more colorfully than rapper, graffiti writer and historian \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a>.\u003c/p>\n\u003cp>The proud San Francisco lyricist and social advocate has undertaken one of the more important preservation projects in recent memory with his podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/history-of-the-bay/id1643362991\">History of the Bay\u003c/a>. The series invites an intergenerational cast of Bay Area personalities — including \u003ca href=\"https://www.youtube.com/watch?v=RuJ-CQU-MJE\">P-Lo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=vkK9dYcLjso\">Rocky Rivera\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike\u003c/a> — to discuss their experiences in Bay Area hip-hop, culture and politics with a laid-back, in-the-know flavor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual",
"title": "At Mistah F.A.B.’s Hyphy Tour, Going Dumb Was Spiritual",
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"content": "\u003cp>Electricity filled the New Parish on May 18 as The Hyphy Era Tour, led by Mistah F.A.B., touched down in Oakland after a successful run up and down the West Coast. But something deeper was evident in the sold-out crowd — and felt by one of hyphy’s figureheads.\u003c/p>\n\u003cp>“This is a real spiritual journey right here, man,” said \u003ca href=\"https://www.instagram.com/officialkeakdasneak/?hl=en\">Keak Da Sneak\u003c/a> backstage before taking the stage. “The hyphy movement is spiritual.”\u003c/p>\n\u003cp>It’s been almost two decades since the hyphy movement exploded from the Bay Area’s inner cities to its suburbs and the rest of the country: Mac Dre laid the foundation for its bombastic self-expression with “\u003ca href=\"https://youtu.be/BbdpEPoN9Kw\">Thizzelle Dance\u003c/a>” in 2002. The Federation’s 2003 “\u003ca href=\"https://youtu.be/zwztQ1TWwLE\">Hyphy\u003c/a>” and Keak’s 2005 “\u003ca href=\"https://youtu.be/KrH-VKYY3nw\">Super Hyphy\u003c/a>” crystalised the movement; F.A.B.’s “\u003ca href=\"https://youtu.be/fRqtmCvWXFs\">Super Sick Wid It\u003c/a>” and “\u003ca href=\"https://youtu.be/vJbNS9T5WWY\">N.E.W. Oakland\u003c/a>” united turfs from Oakland to Vallejo; and hyphy finally hit its national peak in 2006 with Too Short’s “\u003ca href=\"https://youtu.be/CBJtzEKetBM\">Blow the Whistle\u003c/a>” and E-40 and Keak’s “\u003ca href=\"https://youtu.be/2GZbaXdK8Js\">Tell Me When to Go\u003c/a>.”\u003c/p>\n\u003cp>These songs burst with ecstatic, joyful chaos, and, for Baydestrians, going dumb to them is a ritual of catharsis — an energetic release from life’s troubles and traumas. At 8 p.m., when the doors were set to open, a multigenerational, multiracial line of fans — rocking tie-dye, neon, crisp white tees, shades and \u003ca href=\"https://www.instagram.com/explore/locations/1894876794120846/dope-era-clothing-co/?hl=en\">Dope Era\u003c/a> clothes — was already wrapped around the block, ready for that spiritual communion and a mega-dose of Bay Area nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13929468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/keak-800x852.jpg\" alt=\"\" width=\"800\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-800x852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-1020x1086.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-768x818.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-1443x1536.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs during the Hyphy Era Tour at the New Parish in Oakland on May 18, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The hyphy movement was the era I was in my 20s, I had the best time. Like, you had to be there,” said a woman wearing lime green spandex and purple lipstick named Mo, from Oakland. “Sideshows were better than they are now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Middle school, going stupid dumb,” reminisced a fan in a red snapback named Alex from Antioch. “At least one person would have a car where their parents let you ghost ride it. We were always hoppin’ out, doors open, mayne.”\u003c/p>\n\u003cp>Inside at show time, blunt smoke filled the air, and that ecstatic energy began to swirl through the room, picking up speed when D-Lo performed his sad-player slap “\u003ca href=\"https://youtu.be/gZdUHNl6BwQ\">You Played Me\u003c/a>.” The crowd began to coalesce into a congregation, shouting the lyrics, making thizz faces, throwing up T’s and vibrating to the rhythm in collective feeling.\u003c/p>\n\u003cfigure id=\"attachment_13929470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_5325-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D-Lo performs during the Hyphy Era Tour at the New Parish in Oakland on May 18, 2023. \u003ccite>(\u003ca href=\"https://www.isawdray.com/\">D-Ray\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Team, The Federation, Turf Talk, \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">Nump\u003c/a> and numerous special guests lit up the room, and the energy carried throughout the night until 2 a.m. When Mistah F.A.B. finally took the stage — in a total 2004 throwback, wearing Girbaud jeans and an air-brushed tall tee with his own portrait — he expertly rocked the mic, living up to his “freestyle king” nickname with crisply delivered bars on “Sideshow” and “Ghost Ride It.”\u003c/p>\n\u003cp>One of hyphy’s missed opportunities was that there was no national hyphy tour when the subgenre was at its peak. Backstage at the New Parish, F.A.B. — now a successful \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">entrepreneur and philanthropist\u003c/a> — reflected with gratitude on the opportunity to finally take his heroes and peers on the road, and to unite multiple generations of Bay Area hip-hop.\u003c/p>\n\u003cp>“We’re on God’s timing, man, and I’m a big fan of that,” F.A.B. said. “What better time to do it now? To be able to be still in the energy, to receive these flowers and be able to provide these roses.”\u003c/p>\n\u003cfigure id=\"attachment_13929469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAB-crowd-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. brings out special guest Tajai of Souls of Mischief during the hyphy era tour. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mistah F.A.B. and others in the hyphy generation, the reunion tour is deeper than having a good time — it’s also about coming out on the other side of trauma and thriving. “It’s the struggles of what we’ve all been through over these years, you know. \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">Keak Da Sneak had a life-altering situation\u003c/a> where many people would have gave up,” he said, referring to a 2017 shooting that left Keak Da Sneak no longer able to walk. Keak served a prison term for a gun charge while still recuperating from serious injuries, and has fortunately made a strong return to performing since \u003ca href=\"https://www.kqed.org/arts/13867431/it-made-me-appreciate-life-keak-da-sneak-celebrates-prison-release-at-rolling-loud\">his release in 2019\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13929471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_5374-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. watches from the audience during The Hyphy Era tour at the New Parish on May 18, 2023. \u003ccite>(\u003ca href=\"https://www.isawdray.com/\">D-Ray\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s still the most stand-up guy that I know because of his willpower and his courage — for him to get up, and still show face every night, and go out and give it 110%, that alone is why we do it,” F.A.B. added.\u003c/p>\n\u003cp>As he spoke, \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a> — who performed “N.E.W. Oakland” with Mistah F.A.B. and G-Stack for the first time since 2006 — lifted his shirt to reveal a torso marked by bullet and surgery scars, a testament to his own miraculous perseverance. Fans routinely tell F.A.B. stories along similar lines. For many who’ve come to see The Hyphy Era Tour, from Seattle to Humboldt, the music evokes happy memories that can feel like medicine: “This was the time where people was like, ‘Damn, I remember that my mama was still alive. My brother was still alive, and that’s before my cousin went to jail,’” F.A.B. said. [aside postid='arts_13924109']\u003c/p>\n\u003cp>When it came time for Keak Da Sneak to close out the show, the room enveloped him in love. F.A.B., Turf Talk, D-Lo and Bavgate looked on in admiration as he rapped his “Tell Me When to Go” verse, “Fast (Like a Nascar)” and other turnup classics. The room chanted his name, and voices yelled “we love you” from the crowd. It was a well deserved reception for a legend finally getting his due.\u003c/p>\n\u003cp>Hyphy “won’t die, it can’t die,” Keak said backstage. “I’m just glad to be here, man, to witness, to be a part of it, to be one of the founders.”\u003c/p>\n\u003cfigure id=\"attachment_13929472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/san-quinn-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special guest San Quinn makes an appearance on stage during The Hyphy Era Tour at the New Parish on May 18, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mistah F.A.B. hosts the public health fair \u003ca href=\"https://www.instagram.com/p/CsR90UYsV6N/\">Oakland Drinks Water\u003c/a> on June 3, 12-4 p.m. at Verdese Carter Park. \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\">Follow Mistah F.A.B.\u003c/a> for more Hyphy Era Tour date announcements. \u003c/em>\u003c/p>\n\n",
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"excerpt": "For many fans and artists, hyphy is about community, celebration and coming out on the other side of trauma. ",
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"title": "At Mistah F.A.B.’s Hyphy Tour, Going Dumb Was Spiritual | KQED",
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"headline": "At Mistah F.A.B.’s Hyphy Tour, Going Dumb Was Spiritual",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Electricity filled the New Parish on May 18 as The Hyphy Era Tour, led by Mistah F.A.B., touched down in Oakland after a successful run up and down the West Coast. But something deeper was evident in the sold-out crowd — and felt by one of hyphy’s figureheads.\u003c/p>\n\u003cp>“This is a real spiritual journey right here, man,” said \u003ca href=\"https://www.instagram.com/officialkeakdasneak/?hl=en\">Keak Da Sneak\u003c/a> backstage before taking the stage. “The hyphy movement is spiritual.”\u003c/p>\n\u003cp>It’s been almost two decades since the hyphy movement exploded from the Bay Area’s inner cities to its suburbs and the rest of the country: Mac Dre laid the foundation for its bombastic self-expression with “\u003ca href=\"https://youtu.be/BbdpEPoN9Kw\">Thizzelle Dance\u003c/a>” in 2002. The Federation’s 2003 “\u003ca href=\"https://youtu.be/zwztQ1TWwLE\">Hyphy\u003c/a>” and Keak’s 2005 “\u003ca href=\"https://youtu.be/KrH-VKYY3nw\">Super Hyphy\u003c/a>” crystalised the movement; F.A.B.’s “\u003ca href=\"https://youtu.be/fRqtmCvWXFs\">Super Sick Wid It\u003c/a>” and “\u003ca href=\"https://youtu.be/vJbNS9T5WWY\">N.E.W. Oakland\u003c/a>” united turfs from Oakland to Vallejo; and hyphy finally hit its national peak in 2006 with Too Short’s “\u003ca href=\"https://youtu.be/CBJtzEKetBM\">Blow the Whistle\u003c/a>” and E-40 and Keak’s “\u003ca href=\"https://youtu.be/2GZbaXdK8Js\">Tell Me When to Go\u003c/a>.”\u003c/p>\n\u003cp>These songs burst with ecstatic, joyful chaos, and, for Baydestrians, going dumb to them is a ritual of catharsis — an energetic release from life’s troubles and traumas. At 8 p.m., when the doors were set to open, a multigenerational, multiracial line of fans — rocking tie-dye, neon, crisp white tees, shades and \u003ca href=\"https://www.instagram.com/explore/locations/1894876794120846/dope-era-clothing-co/?hl=en\">Dope Era\u003c/a> clothes — was already wrapped around the block, ready for that spiritual communion and a mega-dose of Bay Area nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13929468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/keak-800x852.jpg\" alt=\"\" width=\"800\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-800x852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-1020x1086.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-768x818.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak-1443x1536.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/keak.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs during the Hyphy Era Tour at the New Parish in Oakland on May 18, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The hyphy movement was the era I was in my 20s, I had the best time. Like, you had to be there,” said a woman wearing lime green spandex and purple lipstick named Mo, from Oakland. “Sideshows were better than they are now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Middle school, going stupid dumb,” reminisced a fan in a red snapback named Alex from Antioch. “At least one person would have a car where their parents let you ghost ride it. We were always hoppin’ out, doors open, mayne.”\u003c/p>\n\u003cp>Inside at show time, blunt smoke filled the air, and that ecstatic energy began to swirl through the room, picking up speed when D-Lo performed his sad-player slap “\u003ca href=\"https://youtu.be/gZdUHNl6BwQ\">You Played Me\u003c/a>.” The crowd began to coalesce into a congregation, shouting the lyrics, making thizz faces, throwing up T’s and vibrating to the rhythm in collective feeling.\u003c/p>\n\u003cfigure id=\"attachment_13929470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_5325-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D-Lo performs during the Hyphy Era Tour at the New Parish in Oakland on May 18, 2023. \u003ccite>(\u003ca href=\"https://www.isawdray.com/\">D-Ray\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Team, The Federation, Turf Talk, \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">Nump\u003c/a> and numerous special guests lit up the room, and the energy carried throughout the night until 2 a.m. When Mistah F.A.B. finally took the stage — in a total 2004 throwback, wearing Girbaud jeans and an air-brushed tall tee with his own portrait — he expertly rocked the mic, living up to his “freestyle king” nickname with crisply delivered bars on “Sideshow” and “Ghost Ride It.”\u003c/p>\n\u003cp>One of hyphy’s missed opportunities was that there was no national hyphy tour when the subgenre was at its peak. Backstage at the New Parish, F.A.B. — now a successful \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">entrepreneur and philanthropist\u003c/a> — reflected with gratitude on the opportunity to finally take his heroes and peers on the road, and to unite multiple generations of Bay Area hip-hop.\u003c/p>\n\u003cp>“We’re on God’s timing, man, and I’m a big fan of that,” F.A.B. said. “What better time to do it now? To be able to be still in the energy, to receive these flowers and be able to provide these roses.”\u003c/p>\n\u003cfigure id=\"attachment_13929469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAB-crowd-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAB-crowd.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. brings out special guest Tajai of Souls of Mischief during the hyphy era tour. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mistah F.A.B. and others in the hyphy generation, the reunion tour is deeper than having a good time — it’s also about coming out on the other side of trauma and thriving. “It’s the struggles of what we’ve all been through over these years, you know. \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">Keak Da Sneak had a life-altering situation\u003c/a> where many people would have gave up,” he said, referring to a 2017 shooting that left Keak Da Sneak no longer able to walk. Keak served a prison term for a gun charge while still recuperating from serious injuries, and has fortunately made a strong return to performing since \u003ca href=\"https://www.kqed.org/arts/13867431/it-made-me-appreciate-life-keak-da-sneak-celebrates-prison-release-at-rolling-loud\">his release in 2019\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13929471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_5374-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_5374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. watches from the audience during The Hyphy Era tour at the New Parish on May 18, 2023. \u003ccite>(\u003ca href=\"https://www.isawdray.com/\">D-Ray\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s still the most stand-up guy that I know because of his willpower and his courage — for him to get up, and still show face every night, and go out and give it 110%, that alone is why we do it,” F.A.B. added.\u003c/p>\n\u003cp>As he spoke, \u003ca href=\"https://www.instagram.com/billybavgate/?hl=en\">Bavgate\u003c/a> — who performed “N.E.W. Oakland” with Mistah F.A.B. and G-Stack for the first time since 2006 — lifted his shirt to reveal a torso marked by bullet and surgery scars, a testament to his own miraculous perseverance. Fans routinely tell F.A.B. stories along similar lines. For many who’ve come to see The Hyphy Era Tour, from Seattle to Humboldt, the music evokes happy memories that can feel like medicine: “This was the time where people was like, ‘Damn, I remember that my mama was still alive. My brother was still alive, and that’s before my cousin went to jail,’” F.A.B. said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it came time for Keak Da Sneak to close out the show, the room enveloped him in love. F.A.B., Turf Talk, D-Lo and Bavgate looked on in admiration as he rapped his “Tell Me When to Go” verse, “Fast (Like a Nascar)” and other turnup classics. The room chanted his name, and voices yelled “we love you” from the crowd. It was a well deserved reception for a legend finally getting his due.\u003c/p>\n\u003cp>Hyphy “won’t die, it can’t die,” Keak said backstage. “I’m just glad to be here, man, to witness, to be a part of it, to be one of the founders.”\u003c/p>\n\u003cfigure id=\"attachment_13929472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/san-quinn-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/san-quinn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special guest San Quinn makes an appearance on stage during The Hyphy Era Tour at the New Parish on May 18, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mistah F.A.B. hosts the public health fair \u003ca href=\"https://www.instagram.com/p/CsR90UYsV6N/\">Oakland Drinks Water\u003c/a> on June 3, 12-4 p.m. at Verdese Carter Park. \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\">Follow Mistah F.A.B.\u003c/a> for more Hyphy Era Tour date announcements. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been almost 20 years since The Federation dropped “\u003ca href=\"https://youtu.be/zwztQ1TWwLE\">Hyphy\u003c/a>,” the high-octane track that catalyzed an entire rap subgenre, and became the first local rap song to receive significant commercial radio play in many a moon.\u003c/p>\n\u003cp>The hyphy movement briefly united the Bay Area in the mid-aughts with its crunk-on-thizz signature sound, equally appropriate for going dumb in the club or at a sideshow. It saw the emergence of artists like \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">Mistah F.A.B.\u003c/a>, The Team, and \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">Traxamillion\u003c/a> (R.I.P.), as well as second acts for veterans like E-40, Too Short, Keak Da Sneak, The Jacka and San Quinn. It added considerably to the local slang lexicon with phrases like “ghost ride the whip” and “purple scrapers,” and popularized bold fashion statements such as multicolored hoodies, oversized “stunna shades,” white Ts and Nikes. During hyphy’s peak, audiences from the 707 to the 408 area codes participated in the most expressive youth cultural movement in ages, and it even got some national attention via MTV and mainstream media coverage. [aside postid='arts_13929461']\u003c/p>\n\u003cp>Two upcoming hyphy-themed Oakland events offer the opportunity for Bay Area clubbers to feel themselves all over again \u003cspan style=\"font-weight: 400\">—\u003c/span> or, for younger folks, to see what all the hype was about. On May 18, F.A.B.’s West Coast \u003ca href=\"https://thenewparish.com/event-details/13161598/mistah-f-a-b-keak-da-sneak-d-lo-the-team-the-federation-turf-talk/\">Hyphy Era Tour\u003c/a> comes to the New Parish, featuring live performances by the Dope Era entrepreneur himself, The Federation, The Team, Keak Da Sneak, Turf Talk and D-Lo.\u003c/p>\n\u003cp>On May 28, Cream of Beat presents \u003ca href=\"https://crybaby.live/event-details/13165588/cream-of-beat-presents-hyphy-2007-w-goldie-nump-rick-rock-more-/\">Hyphy 2007\u003c/a> at Crybaby, with DJs Mind Motion, Ivan, Fuze and Tito Bell playing “hyphy anthems and Bay Area classics.” Goldie of The Federation and “I Gott Grapes” rapper \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">Nump\u003c/a> will perform live, plus a rare DJ set by Rick Rock, producer of “Hyphy” and E-40’s call for regional representation, “Yay Area.”\u003c/p>\n\u003cp>There may not be any better occasions to dust off that airbrushed Mac Dre hoodie and throw on the ice-white Air Force Ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://thenewparish.com/event-details/13161598/mistah-f-a-b-keak-da-sneak-d-lo-the-team-the-federation-turf-talk/\">The Hyphy Era Tour\u003c/a> takes place at the New Parish on May 18, 8 p.m. \u003ca href=\"https://crybaby.live/event-details/13165588/cream-of-beat-presents-hyphy-2007-w-goldie-nump-rick-rock-more-/\">Hyphy 2007\u003c/a> takes place at Crybaby on May 28, 10 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been almost 20 years since The Federation dropped “\u003ca href=\"https://youtu.be/zwztQ1TWwLE\">Hyphy\u003c/a>,” the high-octane track that catalyzed an entire rap subgenre, and became the first local rap song to receive significant commercial radio play in many a moon.\u003c/p>\n\u003cp>The hyphy movement briefly united the Bay Area in the mid-aughts with its crunk-on-thizz signature sound, equally appropriate for going dumb in the club or at a sideshow. It saw the emergence of artists like \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\">Mistah F.A.B.\u003c/a>, The Team, and \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">Traxamillion\u003c/a> (R.I.P.), as well as second acts for veterans like E-40, Too Short, Keak Da Sneak, The Jacka and San Quinn. It added considerably to the local slang lexicon with phrases like “ghost ride the whip” and “purple scrapers,” and popularized bold fashion statements such as multicolored hoodies, oversized “stunna shades,” white Ts and Nikes. During hyphy’s peak, audiences from the 707 to the 408 area codes participated in the most expressive youth cultural movement in ages, and it even got some national attention via MTV and mainstream media coverage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two upcoming hyphy-themed Oakland events offer the opportunity for Bay Area clubbers to feel themselves all over again \u003cspan style=\"font-weight: 400\">—\u003c/span> or, for younger folks, to see what all the hype was about. On May 18, F.A.B.’s West Coast \u003ca href=\"https://thenewparish.com/event-details/13161598/mistah-f-a-b-keak-da-sneak-d-lo-the-team-the-federation-turf-talk/\">Hyphy Era Tour\u003c/a> comes to the New Parish, featuring live performances by the Dope Era entrepreneur himself, The Federation, The Team, Keak Da Sneak, Turf Talk and D-Lo.\u003c/p>\n\u003cp>On May 28, Cream of Beat presents \u003ca href=\"https://crybaby.live/event-details/13165588/cream-of-beat-presents-hyphy-2007-w-goldie-nump-rick-rock-more-/\">Hyphy 2007\u003c/a> at Crybaby, with DJs Mind Motion, Ivan, Fuze and Tito Bell playing “hyphy anthems and Bay Area classics.” Goldie of The Federation and “I Gott Grapes” rapper \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">Nump\u003c/a> will perform live, plus a rare DJ set by Rick Rock, producer of “Hyphy” and E-40’s call for regional representation, “Yay Area.”\u003c/p>\n\u003cp>There may not be any better occasions to dust off that airbrushed Mac Dre hoodie and throw on the ice-white Air Force Ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "\"Tell Me When To Mango\": Hyphy Iceez Pours Nostalgia in a Cup",
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"content": "\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>I first heard the hyphy anthem “Tell Me When to Go” in 2006.\u003c/p>\n\u003cp>Back then, I was a freshman in community college and an active member of L.U.C.H.A., a student-led group for first-generation youth who organized protests and cultural events around campus and in surrounding Bay Area communities. After one late-night session, we all packed into the kitchen of a friend’s house in Redwood City for what quickly turned into a house party. \u003ca href=\"https://genius.com/E-40-tell-me-when-to-go-lyrics\">The moon was out with dark clouds\u003c/a>. One group member was wearing a luchador mask, shaking his skull and going wild to the bass, and somewhere there were bottles of \u003ca href=\"https://genius.com/E-40-tell-me-when-to-go-lyrics\">Jose Cuervo and 1800\u003c/a>.\u003c/p>\n\u003cp>Then, E-40’s ambassadorial voice: “I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GZbaXdK8Js\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wasn’t the same person after that. My generation was shaped by Keak da Sneak and 40 Water’s declarations of vices and partying on \u003ci>My Ghetto Report Card\u003c/i>. It defined an upbeat tempo for our region and instilled a pride we haven’t let go of since.\u003c/p>\n\u003cp>Very few Baydestrians represent that intersection in time more than Jonathan Toledo. Born in 1989, he is — in his own words — “the last of a dying breed.” A San Francisco-raised Filipino Mexican, the dude is a full-time father and Goodwill employee by day, and a creative foodmaker who supplies the vibes by night. Though I didn’t know Toledo growing up, he feels like a familiar soul — someone who could’ve been involved in my fledgling circle of friends.\u003c/p>\n\u003cp>Like so many of us during that time, Toledo grew up under the trunk-rattling guidance of the hyphy gods, learning how to maneuver his way through a ruthlessly gentrifying Bay Area landscape while still cultivating his roots. Now, he’s flipping his life experiences into a side business: \u003ca href=\"https://www.instagram.com/hyphyiceez/?hl=en\">Hyphy Iceez\u003c/a>.\u003c/p>\n\u003cp>With homemade flavors like “Tell Me When to Mango,” “Mainey Manzana” and “The Lemon Ayyyyye,” the bootstrap operation has been popping up at various rec centers, family events and markets around the 415, 510 and 408 with Toledo’s signature “Iceez.”\u003c/p>\n\u003cp>As warm weather (theoretically) approaches our foggy horizon, Toledo will be outside serving up cold, slushy treats for kids and adults alike. Catch him pouring up his own variation of 18 dummy juice and handing out life lessons about the only place he’s ever called home: The Bay.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Where did you get the idea for Hyphy Iceez, and when did it launch?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jonathan Toledo: \u003c/b>Really, I started my first business in 2018 — \u003ca href=\"https://www.instagram.com/thehiphopbouncehouse/\">The Hip Hop Bounce House\u003c/a>. It’s a jumper with a bluetooth speaker and disco lights, a turn-up jumper (laughs). My first year was just about learning everything, and my second year I had plans to grow. But the pandemic hit, and that put a stop to it all. Throughout that time I started thinking about what else I could do business-wise. One day, I was kicking it at Dolores Park with my girl. It was warm outside and vendors were walking around selling coconuts and hella other things, and I was thinking it could be dope to have Icees out here — you know, frozen drinks. From there I applied my experience [gained] from the first business. Within four months of that moment, I had my very first [Icee] machine.\u003c/p>\n\u003cfigure id=\"attachment_13928812\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928812 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_machine-800x1200.jpg\" alt='a slushy machine used for making \"Hyphy Iceez\" ' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Iceez started in the summer of 2020 with nothing more than a slushy machine. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It sounds like you really had to pivot from your original plans. Where did it go from there, and how did you turn that into something bigger?\u003c/b>\u003c/p>\n\u003cp>Around that time I was really on the drawing board with coming up with my new business name. I had some ideas, but when I thought of Hyphy Iceez, that was it. For me, it’s nostalgic. It’s about putting my twist on a classic, making it my own by adding a childhood staple to Bay Area culture. That’s how I got the business running and started. Then it was really just putting myself out there, doing pop-ups. I wouldn’t always be able to set up at an event, but I would sell outside on the sidewalks. Sometimes, they would invite me in because they would see people coming in with my drinks. I was consistent and persistent. From there my connection really built with different community organizations in San Francisco. It’s the biggest blessing to have that resource.\u003c/p>\n\u003cp>There’s always a lot of love. It’s not always about the sales, but just about the experience and making the most out of it. It’s always well received. It’s the Bay. We know hyphy. It’s a household name. It’s just about building unity regardless of what city or area you’re from. We just know how to turn it into a good time and create a positive experience. With everything in close proximity and accessible around the Bay — you got AC Transit, MUNI, BART — it’s important to get out and realize we’re all the same and the culture is everywhere.\u003c/p>\n\u003cp>\u003cb>Are there any community orgs who were particularly influential?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kidsclub.org/\">Boys and Girls Club of SF\u003c/a>. The \u003ca href=\"https://www.ltfrespuestalatina.com/\">Latino Task Force\u003c/a>. Those are the two that were consistently big supporters. I’m always trying to give back when I can. I’ve had other nonprofits reach out to me and ask me to donate my services. Bro, I’m a super small business. That would be breaking the bank for me, I can’t even do that (laughs). But when I can, I try to hook them up in other ways. I’m a Director of Operations at Goodwill, so I can connect them and create opportunities, help them set up tables, provide job resources, things like that. If it doesn’t work out with the Iceez, the bigger picture is still to support the community.\u003c/p>\n\u003cp>\u003cb>You grew up in the Mission. How has that shaped you and your business ideas?\u003c/b>\u003c/p>\n\u003cp>Growing up here, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">it’s full of hustlers\u003c/a>. By hustlers I mean people who are going to go out and get it by any means, regardless. Find a way. Make it happen. Before I did any of this, when I was a teenager, I was stealing car radios, car speakers, and that was one of my first hustles. Selling bootleg CDs. Downloading everything off Limewire. If a CD came out, I’d write down the track list at Target and then go home and download it and sell it. That’s a hustler culture, a mentality. Seeing that in the Bay, and from my family, I had to find a way to apply that to something bigger. That was a large influence.\u003c/p>\n\u003cp>The other aspect is about remixing things and making it your own. The Bay been doing that. A lot of people have pulled inspiration out of Bay culture, right? Through that, you learn how to align yourself and keep it authentic. It’s how we grew up — being able to keep it going and lit for future generations. One of my ultimate goals, bro, is to open up a storefront with a whole hyphy theme. But realistically that might not happen in California.\u003c/p>\n\u003cfigure id=\"attachment_13928811\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928811 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_kids-800x533.jpg\" alt=\"A foodmaker serves cold slushies to a group of young children at an outdoor cultural event in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toledo serves a group of children in the Mission District during a free cultural event in October. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You went from stealing car radios as a youth to becoming a regional director for Goodwill? That’s major. What’s your blueprint for success?\u003c/b>\u003c/p>\n\u003cp>Right now, I oversee the main warehouse and transportation fleets all over the Bay Area’s [nine] counties. That’s 169 employees who report to me. But I started with Goodwill in a program for at-risk youth 12 years ago and got an entry level position in the warehouse. At that time, the program was called RAMP, and it was a job readiness program. It was dope. They helped to prepare me how to apply for jobs, how to interview, stuff like that. They provided professional attire, mock interviews, the basic fundamentals of communication. They taught me the importance of accountability and punctuality.[pullquote size=\"large\" align=\"right\" citation=\"Jonathan Toledo\"]‘In the Bay, it’s all about making it your own … by creating your own remix.’[/pullquote]\u003c/p>\n\u003cp>If you weren’t brought up with those skill sets, you don’t really think about it. That’s kind of what helped me start up my first business, to be honest. Going through the program and learning about the store, becoming a manager. I realized if I can help run another person’s business, I can run my own.\u003c/p>\n\u003cp>\u003cb>What was your biggest challenge during that transition?\u003c/b>\u003c/p>\n\u003cp>Not really having that financial literacy. I’ve learned — over years — I’ve learned through lessons. Originally, I would self-fund everything out-of-pocket with cash and not really think about building up my credit or looking into business credit cards. Things like that. The other night I was checking my emails and I saw a deadline for a small business grant, and the deadline was the next day. So I said fuck that and stayed up all night to apply. I might not get it, but I [filled out the application].\u003c/p>\n\u003cp>Finding and knowing about those resources is important. Every event, I learn more about being efficient, about presentation. I’m always open to learning and adapting, making changes and improving.\u003c/p>\n\u003cfigure id=\"attachment_13928810\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_close-up-800x1200.jpg\" alt=\"A close up photo of a green slushy treat in a cup\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toledo takes his inspiration from a lifetime of Bay Area memories, including his mom’s graduation from UC Berkeley, which has a bear as a mascot. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I can’t end this interview without asking the main question: Who are your favorite hyphy rappers, and do you still listen to them? Why is it important to keep that alive?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13922141,arts_13913201']\u003c/span>Of course. Keak da Sneak, E-40, Too Short, Mistah F.A.B., Mac Dre. San Quinn, for sure, in that era especially. The 2000s, he was coming consistent, non-stop. Yaddamean. There’s so many rappers and Bay artists, the list goes on and on. My kids listen to it through me, but I got a wide range of music that I mess with. I can go from oldies to R&B to rap to hyphy. It’s old-school player shit. We’ll be listening to Spanish music, too.\u003c/p>\n\u003cp>Hyphy is still going on, but it’s not as prominent. Did you see Mistah F.A.B. and them are throwing \u003ca href=\"https://www.youtube.com/watch?v=86UW5FKUSDc\">The Hyphy Era Tour\u003c/a>? There’s also a cat on IG, \u003ca href=\"https://www.instagram.com/bigfolkspop/\">BigFolksPop\u003c/a>, we just chop it up, and I appreciate all his skits. They’re basically from the hyphy era, like waiting at the bus stop and seeing a Lightning McQueen backpack or [stoned] Spongebob shirt. The gangsta Spongebob. In the Bay, it’s all about making it your own. It goes back to that idea of making things unique by creating your own remix.\u003c/p>\n\u003cp>Have you looked at our logo for Hyphy Iceez? It’s made by my friend, a local graphic designer, \u003ca href=\"https://www.instagram.com/chrystianguillermo/\">Chrystian Guillermo\u003c/a>, but it’s inspired by Cal Berkeley. My mom is an alumni from UC Berkeley. That’s a big part of the Bay, just like hyphy. It’s about making those connections and keeping that representation. So people see it and they know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/hyphyiceez/\">\u003ci>Hyphy Iceez\u003c/i>\u003c/a>\u003ci> is available for private events and can be found serving various community orgs around the Bay Area. Currently, they are part of Frisco Fridays in partnership with \u003c/i>\u003ca href=\"https://www.instagram.com/_city_chopped_/\">\u003ci>City Chopped\u003c/i>\u003c/a>\u003ci> and \u003c/i>\u003ca href=\"https://www.instagram.com/made.in.the.city/\">\u003ci>Made in the City\u003c/i>\u003c/a>\u003ci>. Check their pages for listings on where and when they will be serving food and hyphy-themed drinks one Friday per month.\u003c/i>\u003c/p>\n\n",
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"title": "Hyphy Iceez Pours Frozen Slushy Drinks Inspired by the Bay Area Hyphy Movement | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>I first heard the hyphy anthem “Tell Me When to Go” in 2006.\u003c/p>\n\u003cp>Back then, I was a freshman in community college and an active member of L.U.C.H.A., a student-led group for first-generation youth who organized protests and cultural events around campus and in surrounding Bay Area communities. After one late-night session, we all packed into the kitchen of a friend’s house in Redwood City for what quickly turned into a house party. \u003ca href=\"https://genius.com/E-40-tell-me-when-to-go-lyrics\">The moon was out with dark clouds\u003c/a>. One group member was wearing a luchador mask, shaking his skull and going wild to the bass, and somewhere there were bottles of \u003ca href=\"https://genius.com/E-40-tell-me-when-to-go-lyrics\">Jose Cuervo and 1800\u003c/a>.\u003c/p>\n\u003cp>Then, E-40’s ambassadorial voice: “I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.”\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/2GZbaXdK8Js'\n title='//www.youtube.com/embed/2GZbaXdK8Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wasn’t the same person after that. My generation was shaped by Keak da Sneak and 40 Water’s declarations of vices and partying on \u003ci>My Ghetto Report Card\u003c/i>. It defined an upbeat tempo for our region and instilled a pride we haven’t let go of since.\u003c/p>\n\u003cp>Very few Baydestrians represent that intersection in time more than Jonathan Toledo. Born in 1989, he is — in his own words — “the last of a dying breed.” A San Francisco-raised Filipino Mexican, the dude is a full-time father and Goodwill employee by day, and a creative foodmaker who supplies the vibes by night. Though I didn’t know Toledo growing up, he feels like a familiar soul — someone who could’ve been involved in my fledgling circle of friends.\u003c/p>\n\u003cp>Like so many of us during that time, Toledo grew up under the trunk-rattling guidance of the hyphy gods, learning how to maneuver his way through a ruthlessly gentrifying Bay Area landscape while still cultivating his roots. Now, he’s flipping his life experiences into a side business: \u003ca href=\"https://www.instagram.com/hyphyiceez/?hl=en\">Hyphy Iceez\u003c/a>.\u003c/p>\n\u003cp>With homemade flavors like “Tell Me When to Mango,” “Mainey Manzana” and “The Lemon Ayyyyye,” the bootstrap operation has been popping up at various rec centers, family events and markets around the 415, 510 and 408 with Toledo’s signature “Iceez.”\u003c/p>\n\u003cp>As warm weather (theoretically) approaches our foggy horizon, Toledo will be outside serving up cold, slushy treats for kids and adults alike. Catch him pouring up his own variation of 18 dummy juice and handing out life lessons about the only place he’s ever called home: The Bay.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Where did you get the idea for Hyphy Iceez, and when did it launch?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jonathan Toledo: \u003c/b>Really, I started my first business in 2018 — \u003ca href=\"https://www.instagram.com/thehiphopbouncehouse/\">The Hip Hop Bounce House\u003c/a>. It’s a jumper with a bluetooth speaker and disco lights, a turn-up jumper (laughs). My first year was just about learning everything, and my second year I had plans to grow. But the pandemic hit, and that put a stop to it all. Throughout that time I started thinking about what else I could do business-wise. One day, I was kicking it at Dolores Park with my girl. It was warm outside and vendors were walking around selling coconuts and hella other things, and I was thinking it could be dope to have Icees out here — you know, frozen drinks. From there I applied my experience [gained] from the first business. Within four months of that moment, I had my very first [Icee] machine.\u003c/p>\n\u003cfigure id=\"attachment_13928812\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928812 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_machine-800x1200.jpg\" alt='a slushy machine used for making \"Hyphy Iceez\" ' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_machine-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Iceez started in the summer of 2020 with nothing more than a slushy machine. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It sounds like you really had to pivot from your original plans. Where did it go from there, and how did you turn that into something bigger?\u003c/b>\u003c/p>\n\u003cp>Around that time I was really on the drawing board with coming up with my new business name. I had some ideas, but when I thought of Hyphy Iceez, that was it. For me, it’s nostalgic. It’s about putting my twist on a classic, making it my own by adding a childhood staple to Bay Area culture. That’s how I got the business running and started. Then it was really just putting myself out there, doing pop-ups. I wouldn’t always be able to set up at an event, but I would sell outside on the sidewalks. Sometimes, they would invite me in because they would see people coming in with my drinks. I was consistent and persistent. From there my connection really built with different community organizations in San Francisco. It’s the biggest blessing to have that resource.\u003c/p>\n\u003cp>There’s always a lot of love. It’s not always about the sales, but just about the experience and making the most out of it. It’s always well received. It’s the Bay. We know hyphy. It’s a household name. It’s just about building unity regardless of what city or area you’re from. We just know how to turn it into a good time and create a positive experience. With everything in close proximity and accessible around the Bay — you got AC Transit, MUNI, BART — it’s important to get out and realize we’re all the same and the culture is everywhere.\u003c/p>\n\u003cp>\u003cb>Are there any community orgs who were particularly influential?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kidsclub.org/\">Boys and Girls Club of SF\u003c/a>. The \u003ca href=\"https://www.ltfrespuestalatina.com/\">Latino Task Force\u003c/a>. Those are the two that were consistently big supporters. I’m always trying to give back when I can. I’ve had other nonprofits reach out to me and ask me to donate my services. Bro, I’m a super small business. That would be breaking the bank for me, I can’t even do that (laughs). But when I can, I try to hook them up in other ways. I’m a Director of Operations at Goodwill, so I can connect them and create opportunities, help them set up tables, provide job resources, things like that. If it doesn’t work out with the Iceez, the bigger picture is still to support the community.\u003c/p>\n\u003cp>\u003cb>You grew up in the Mission. How has that shaped you and your business ideas?\u003c/b>\u003c/p>\n\u003cp>Growing up here, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">it’s full of hustlers\u003c/a>. By hustlers I mean people who are going to go out and get it by any means, regardless. Find a way. Make it happen. Before I did any of this, when I was a teenager, I was stealing car radios, car speakers, and that was one of my first hustles. Selling bootleg CDs. Downloading everything off Limewire. If a CD came out, I’d write down the track list at Target and then go home and download it and sell it. That’s a hustler culture, a mentality. Seeing that in the Bay, and from my family, I had to find a way to apply that to something bigger. That was a large influence.\u003c/p>\n\u003cp>The other aspect is about remixing things and making it your own. The Bay been doing that. A lot of people have pulled inspiration out of Bay culture, right? Through that, you learn how to align yourself and keep it authentic. It’s how we grew up — being able to keep it going and lit for future generations. One of my ultimate goals, bro, is to open up a storefront with a whole hyphy theme. But realistically that might not happen in California.\u003c/p>\n\u003cfigure id=\"attachment_13928811\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928811 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_kids-800x533.jpg\" alt=\"A foodmaker serves cold slushies to a group of young children at an outdoor cultural event in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_kids.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toledo serves a group of children in the Mission District during a free cultural event in October. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You went from stealing car radios as a youth to becoming a regional director for Goodwill? That’s major. What’s your blueprint for success?\u003c/b>\u003c/p>\n\u003cp>Right now, I oversee the main warehouse and transportation fleets all over the Bay Area’s [nine] counties. That’s 169 employees who report to me. But I started with Goodwill in a program for at-risk youth 12 years ago and got an entry level position in the warehouse. At that time, the program was called RAMP, and it was a job readiness program. It was dope. They helped to prepare me how to apply for jobs, how to interview, stuff like that. They provided professional attire, mock interviews, the basic fundamentals of communication. They taught me the importance of accountability and punctuality.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you weren’t brought up with those skill sets, you don’t really think about it. That’s kind of what helped me start up my first business, to be honest. Going through the program and learning about the store, becoming a manager. I realized if I can help run another person’s business, I can run my own.\u003c/p>\n\u003cp>\u003cb>What was your biggest challenge during that transition?\u003c/b>\u003c/p>\n\u003cp>Not really having that financial literacy. I’ve learned — over years — I’ve learned through lessons. Originally, I would self-fund everything out-of-pocket with cash and not really think about building up my credit or looking into business credit cards. Things like that. The other night I was checking my emails and I saw a deadline for a small business grant, and the deadline was the next day. So I said fuck that and stayed up all night to apply. I might not get it, but I [filled out the application].\u003c/p>\n\u003cp>Finding and knowing about those resources is important. Every event, I learn more about being efficient, about presentation. I’m always open to learning and adapting, making changes and improving.\u003c/p>\n\u003cfigure id=\"attachment_13928810\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hyphy_iceez_close-up-800x1200.jpg\" alt=\"A close up photo of a green slushy treat in a cup\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hyphy_iceez_close-up-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toledo takes his inspiration from a lifetime of Bay Area memories, including his mom’s graduation from UC Berkeley, which has a bear as a mascot. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I can’t end this interview without asking the main question: Who are your favorite hyphy rappers, and do you still listen to them? Why is it important to keep that alive?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Of course. Keak da Sneak, E-40, Too Short, Mistah F.A.B., Mac Dre. San Quinn, for sure, in that era especially. The 2000s, he was coming consistent, non-stop. Yaddamean. There’s so many rappers and Bay artists, the list goes on and on. My kids listen to it through me, but I got a wide range of music that I mess with. I can go from oldies to R&B to rap to hyphy. It’s old-school player shit. We’ll be listening to Spanish music, too.\u003c/p>\n\u003cp>Hyphy is still going on, but it’s not as prominent. Did you see Mistah F.A.B. and them are throwing \u003ca href=\"https://www.youtube.com/watch?v=86UW5FKUSDc\">The Hyphy Era Tour\u003c/a>? There’s also a cat on IG, \u003ca href=\"https://www.instagram.com/bigfolkspop/\">BigFolksPop\u003c/a>, we just chop it up, and I appreciate all his skits. They’re basically from the hyphy era, like waiting at the bus stop and seeing a Lightning McQueen backpack or [stoned] Spongebob shirt. The gangsta Spongebob. In the Bay, it’s all about making it your own. It goes back to that idea of making things unique by creating your own remix.\u003c/p>\n\u003cp>Have you looked at our logo for Hyphy Iceez? It’s made by my friend, a local graphic designer, \u003ca href=\"https://www.instagram.com/chrystianguillermo/\">Chrystian Guillermo\u003c/a>, but it’s inspired by Cal Berkeley. My mom is an alumni from UC Berkeley. That’s a big part of the Bay, just like hyphy. It’s about making those connections and keeping that representation. So people see it and they know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/hyphyiceez/\">\u003ci>Hyphy Iceez\u003c/i>\u003c/a>\u003ci> is available for private events and can be found serving various community orgs around the Bay Area. Currently, they are part of Frisco Fridays in partnership with \u003c/i>\u003ca href=\"https://www.instagram.com/_city_chopped_/\">\u003ci>City Chopped\u003c/i>\u003c/a>\u003ci> and \u003c/i>\u003ca href=\"https://www.instagram.com/made.in.the.city/\">\u003ci>Made in the City\u003c/i>\u003c/a>\u003ci>. Check their pages for listings on where and when they will be serving food and hyphy-themed drinks one Friday per month.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The headlines are all about AI these days — most recently with \u003ca href=\"https://www.cnn.com/videos/business/2023/04/23/drake-the-weeknd-ai-song-sarlin-acostanr-contd-vpx.cnn\">an “AI Drake” song\u003c/a> and a \u003ca href=\"https://twitter.com/DanteTheDon/status/1652371178403536898\">Biggie version of Nas’ “NY State of Mind.”\u003c/a> Both have gone viral and reintroduced a running debate about the dangers and \u003ca href=\"https://www.vice.com/en/article/4a3vmn/heart-on-my-sleeve-ai-music-drake-the-weeknd-lawyer-explains\">legal implications\u003c/a> of artificial intelligence. One thing is painfully clear: it’s not going away anytime soon.\u003c/p>\n\u003cp>I grew up along Highway 101, on the northern edge of Silicon Valley — just one exit away from where Google’s Mountain View campus would eventually sprout, and only a few miles from Facebook’s headquarters in East Palo Alto. I won’t lie — my lifelong proximity to every tech trend has made me skeptical, if not resistant, to the latest technologies.[aside postid='arts_13928057']\u003c/p>\n\u003cp>So when my wife started messing around with \u003ca href=\"https://www.entrepreneur.com/business-news/what-the-controversy-surrounding-chatgpt-really-tells-us/443735\">OpenAI’s controversial ChatGPT\u003c/a> on her new phone, I surprised myself when I asked her to engage the hyper-algorithmic platform to answer what I thought was a basic question:\u003c/p>\n\u003cp>“What are the best Bay Area rap albums?”\u003c/p>\n\u003cp>Deep down, I was curious if the decades I’d spent digging through crates, listening to cassettes, burning CDs, freestyling in the back of parked cars and on corners, doing graffiti, attending hip-hop events, reading about the subject, taking college courses about the genre, discussing the craft with artists and religiously streaming the newest talents on today’s apps would compare to the almighty knowledge of ChatGPT.\u003c/p>\n\u003cp>Here’s what it spit out.\u003c/p>\n\u003ch2>Ironically, A.I. approves of funky homosapiens\u003c/h2>\n\u003cp>Before listing what it deemed the best 10 Bay Area albums, ChatGPT opened with a preamble: “The San Francisco Bay Area has been an important hub for hip hop since the early days of the genre, and has produced some of the most innovative and influential rap albums of all time.” Truer words have never been typed by a non-corporeal cloud.[aside postid='arts_13927692']Though the list in its entirety had some disastrous flubs (more on those later), I was impressed by the specificity of the suggestions. This isn’t just a beginner’s list that any bozo might posit at trivia night in a desperate attempt to appear knowledgeable. It actually offers some gems, worthy of consideration for any true Bay Area hip-hop head.\u003c/p>\n\u003cp>Here are the highlights from OpenAI’s suggestions, as they randomly populated my screen:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fXJc2NYwHjw\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">.\u003c/span>\u003cbr>\n\u003cstrong>\u003ci>‘93 Til Infinity\u003c/i> by Souls of Mischief\u003c/strong>. Classic record, no pushback here.\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Deltron 3030\u003c/i> by Deltron 3030\u003c/strong>. To be fair, I’m not sure this is considered a strictly “Bay Area rap” album. It’s a collaboration between two Bay Area legends and a Canadian, and is as much a science fiction odyssey as it is rap. But sure. We’ll toss it in.\u003c/p>\n\u003cfigure id=\"attachment_13928552\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg\" alt=\"a black cassette tape that reads 'The Coup, The EP' in white letters\" width=\"600\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/R-4580478-1368992589-6879-160x99.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Coup’s 1991 EP. \u003ccite>(via Discogs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>The Coup\u003c/i> by The Coup\u003c/strong>. Of all the Coup’s releases, ChatGPT picked this obscure, cassette-only 1991 EP — technically not an album — released decades before the group’s frontman and Town activist, Boots Riley, pursued an alternative career as \u003ca href=\"https://www.kqed.org/arts/13831773/boots-riley-receives-sundance-vanguard-award\">a dope filmmaker\u003c/a> who premiered his latest script, \u003ci>I’m A Virgo\u003c/i>, at \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">this year’s SFFILM\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Hyphy Hitz\u003c/i>\u003c/strong>. A sweep-kick compilation of Bay Area hyphy anthems featuring The Federation, Keak Da Sneak and The Team. Looks like it came from the bargain bin at Walmart.\u003c/p>\n\u003cfigure id=\"attachment_13928542\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg\" alt=\"an album cover that reads 'The Jacka Presents the artist records The A.R. Street Album, with four young Black men in black and white t-shirts posing against a white wall\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover of ‘The Jacka Presents The Artist Records – The A.R Street Album.’ Kind of a surprising choice in the context of the rest of The Jacka’s catalogue, but we’ll take it. \u003ccite>(The Artist Records/SMC Entertainment )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>The Jacka Presents: \u003c/i>\u003c/strong>\u003cem>\u003cstrong>The A.R. Street Album by The Jacka\u003c/strong>.\u003c/em> A 2012 label showcase that features Bay Area mainstays like Husalah and Fed-X. An odd selection, though ChatGPT did respectfully note Jacka’s passing in 2015.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SkgiqoLpwSc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">.\u003c/span>\u003cbr>\n\u003cstrong>\u003ci>I\u003c/i>\u003ci>n A Major Way\u003c/i> by E-40\u003c/strong>. My personal favorite here, and still among the most-played CDs in my outdated stick-shift vehicle to this day. (I told you, I don’t fully trust automation.)\u003c/p>\n\u003cp>Overall: a couple miscalculations, but it represents the diversity of the region’s soundscape. You get a mandatory Hyphy compilation from the early aughts; a bit of darkly synthesized mobb music from the early ’90s; a taste of the East Bay’s weird, underground flavors; political credos from a group of revolutionaries; and the soundtrack of a street legend, murdered in his prime. That’s a solid encapsulation of what makes Bay Area rap so prolific and multifaceted.\u003c/p>\n\u003cp>So far, if you didn’t know that a non-human compiled this list, it probably wouldn’t arouse any suspicion that it was churned out by a computer. What would absolutely be a red flag, though, is the remaining four albums.\u003c/p>\n\u003ch2>A.I. inevitably misinterprets and misinforms\u003c/h2>\n\u003cp>Anyone worth their salt in hip-hop knows that regional pride is one of the most beautiful and sacred aspects of the culture. You would never catch a New York-bred rapper repping Chicago, and you wouldn’t label a Southern rapper’s music as representative of the Midwestern experience. It’s practically hip-hop law to flex your area code; to misinterpret or overlook these regional distinctions is definitely a violation of hip-hop’s territorial ethos.[aside postid='arts_13924042']\u003c/p>\n\u003cp>So to put Public Enemy (a pioneering East Coast group), Aceyalone (a distinguished L.A. lyricist recently nominated for a Grammy), Dr. Dre (is there anyone, besides Snoop, who is more representative of L.A.?), and Arrested Development (an Atlanta-bred collective) on a Bay Area rap list is alarmingly off-base.\u003c/p>\n\u003cp>To the credit of ChatGPT, it provides context for its choices, and that’s where its failures got especially interesting. It’s where the cultural layers became nuanced, and where ChatGPT — whose parent company, OpenAI, is based in San Francisco — failed to distinguish literal information from regional common sense.\u003c/p>\n\u003cp>According to the bot’s Ultron-esque index, Public Enemy’s \u003ci>Fear of a Black Planet \u003c/i>was recorded in Sausalito; Aceyalone’s \u003ci>All Balls Don’t Bounce\u003c/i> was recorded in Berkeley; Dr. Dre’s \u003ci>The Chronic \u003c/i>features “Bay Area artists like Too $hort, MC Ren and Eazy-E”; and Arrested Developments’ \u003ci>3 Years, 5 Months and 2 Days in the Life Of… \u003c/i>was recorded in San Francisco.\u003c/p>\n\u003cp>And none of that is true.\u003c/p>\n\u003cp>Public Enemy recorded \u003ci>Black Planet\u003c/i> at \u003ca href=\"https://www.spin.com/2015/04/public-enemy-fear-of-a-black-planet-chuck-d-interview-1990/\">Green Street Recording Studios in New York’s SoHo\u003c/a>. Aceyalone did his thing at \u003ca href=\"https://www.discogs.com/release/2896429-Aceyalone-All-Balls-Dont-Bounce\">Kitchen Sync Studios in Hollywood\u003c/a>. Dr. Dre and his crew of Compton (not Bay Area) rappers laid it down at Death Row Studios in Los Angeles, while Too $hort doesn’t appear anywhere on the project. And Arrested Development, the group that always reps the South? \u003ca href=\"https://lifeoftherecord.com/arrested-development/\">They recorded their debut in, you guessed it, the South\u003c/a>.\u003c/p>\n\u003cp>You’re maybe wondering how the hell ChatGPT got it \u003ci>that\u003c/i> wrong: In what parallel multiverse does Long Island become Sausalito? Why would a group that helped put ATL on the map suddenly switch coasts and record in Frisco?\u003c/p>\n\u003cp>And even if these albums had been recorded in the Bay, would they be considered foundational to the legacy of Bay Area rap, and representative of our region’s unique vibe? I’d vote no.\u003c/p>\n\u003cp>My weekend dabbles with ChatGPT — the highly-touted, highly-automated information generator that can’t yet distinguish cultural fabrics because it is, obviously, \u003ca href=\"https://theconversation.com/it-takes-a-body-to-understand-the-world-why-chatgpt-and-other-language-ais-dont-know-what-theyre-saying-201280\">lacking a sensory connection to our world\u003c/a> — once again reminded me what I’d already sensed. Tech is cool, but it will never be able to replace the grains of our fullest, most intuitive humanity.\u003c/p>\n\u003cp>Maybe that’s because ChatGPT has never danced to Mac Dre or The Whole Damn Yey at a house party in Oakland or San Jose. And let’s hope it never does.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headlines are all about AI these days — most recently with \u003ca href=\"https://www.cnn.com/videos/business/2023/04/23/drake-the-weeknd-ai-song-sarlin-acostanr-contd-vpx.cnn\">an “AI Drake” song\u003c/a> and a \u003ca href=\"https://twitter.com/DanteTheDon/status/1652371178403536898\">Biggie version of Nas’ “NY State of Mind.”\u003c/a> Both have gone viral and reintroduced a running debate about the dangers and \u003ca href=\"https://www.vice.com/en/article/4a3vmn/heart-on-my-sleeve-ai-music-drake-the-weeknd-lawyer-explains\">legal implications\u003c/a> of artificial intelligence. One thing is painfully clear: it’s not going away anytime soon.\u003c/p>\n\u003cp>I grew up along Highway 101, on the northern edge of Silicon Valley — just one exit away from where Google’s Mountain View campus would eventually sprout, and only a few miles from Facebook’s headquarters in East Palo Alto. I won’t lie — my lifelong proximity to every tech trend has made me skeptical, if not resistant, to the latest technologies.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when my wife started messing around with \u003ca href=\"https://www.entrepreneur.com/business-news/what-the-controversy-surrounding-chatgpt-really-tells-us/443735\">OpenAI’s controversial ChatGPT\u003c/a> on her new phone, I surprised myself when I asked her to engage the hyper-algorithmic platform to answer what I thought was a basic question:\u003c/p>\n\u003cp>“What are the best Bay Area rap albums?”\u003c/p>\n\u003cp>Deep down, I was curious if the decades I’d spent digging through crates, listening to cassettes, burning CDs, freestyling in the back of parked cars and on corners, doing graffiti, attending hip-hop events, reading about the subject, taking college courses about the genre, discussing the craft with artists and religiously streaming the newest talents on today’s apps would compare to the almighty knowledge of ChatGPT.\u003c/p>\n\u003cp>Here’s what it spit out.\u003c/p>\n\u003ch2>Ironically, A.I. approves of funky homosapiens\u003c/h2>\n\u003cp>Before listing what it deemed the best 10 Bay Area albums, ChatGPT opened with a preamble: “The San Francisco Bay Area has been an important hub for hip hop since the early days of the genre, and has produced some of the most innovative and influential rap albums of all time.” Truer words have never been typed by a non-corporeal cloud.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the list in its entirety had some disastrous flubs (more on those later), I was impressed by the specificity of the suggestions. This isn’t just a beginner’s list that any bozo might posit at trivia night in a desperate attempt to appear knowledgeable. It actually offers some gems, worthy of consideration for any true Bay Area hip-hop head.\u003c/p>\n\u003cp>Here are the highlights from OpenAI’s suggestions, as they randomly populated my screen:\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/fXJc2NYwHjw'\n title='//www.youtube.com/embed/fXJc2NYwHjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">.\u003c/span>\u003cbr>\n\u003cstrong>\u003ci>‘93 Til Infinity\u003c/i> by Souls of Mischief\u003c/strong>. Classic record, no pushback here.\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Deltron 3030\u003c/i> by Deltron 3030\u003c/strong>. To be fair, I’m not sure this is considered a strictly “Bay Area rap” album. It’s a collaboration between two Bay Area legends and a Canadian, and is as much a science fiction odyssey as it is rap. But sure. We’ll toss it in.\u003c/p>\n\u003cfigure id=\"attachment_13928552\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg\" alt=\"a black cassette tape that reads 'The Coup, The EP' in white letters\" width=\"600\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/R-4580478-1368992589-6879.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/R-4580478-1368992589-6879-160x99.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Coup’s 1991 EP. \u003ccite>(via Discogs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>The Coup\u003c/i> by The Coup\u003c/strong>. Of all the Coup’s releases, ChatGPT picked this obscure, cassette-only 1991 EP — technically not an album — released decades before the group’s frontman and Town activist, Boots Riley, pursued an alternative career as \u003ca href=\"https://www.kqed.org/arts/13831773/boots-riley-receives-sundance-vanguard-award\">a dope filmmaker\u003c/a> who premiered his latest script, \u003ci>I’m A Virgo\u003c/i>, at \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">this year’s SFFILM\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Hyphy Hitz\u003c/i>\u003c/strong>. A sweep-kick compilation of Bay Area hyphy anthems featuring The Federation, Keak Da Sneak and The Team. Looks like it came from the bargain bin at Walmart.\u003c/p>\n\u003cfigure id=\"attachment_13928542\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg\" alt=\"an album cover that reads 'The Jacka Presents the artist records The A.R. Street Album, with four young Black men in black and white t-shirts posing against a white wall\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ab67616d0000b2737cce383225f743beac4c5bb2-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover of ‘The Jacka Presents The Artist Records – The A.R Street Album.’ Kind of a surprising choice in the context of the rest of The Jacka’s catalogue, but we’ll take it. \u003ccite>(The Artist Records/SMC Entertainment )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>The Jacka Presents: \u003c/i>\u003c/strong>\u003cem>\u003cstrong>The A.R. Street Album by The Jacka\u003c/strong>.\u003c/em> A 2012 label showcase that features Bay Area mainstays like Husalah and Fed-X. An odd selection, though ChatGPT did respectfully note Jacka’s passing in 2015.\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/SkgiqoLpwSc'\n title='//www.youtube.com/embed/SkgiqoLpwSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">.\u003c/span>\u003cbr>\n\u003cstrong>\u003ci>I\u003c/i>\u003ci>n A Major Way\u003c/i> by E-40\u003c/strong>. My personal favorite here, and still among the most-played CDs in my outdated stick-shift vehicle to this day. (I told you, I don’t fully trust automation.)\u003c/p>\n\u003cp>Overall: a couple miscalculations, but it represents the diversity of the region’s soundscape. You get a mandatory Hyphy compilation from the early aughts; a bit of darkly synthesized mobb music from the early ’90s; a taste of the East Bay’s weird, underground flavors; political credos from a group of revolutionaries; and the soundtrack of a street legend, murdered in his prime. That’s a solid encapsulation of what makes Bay Area rap so prolific and multifaceted.\u003c/p>\n\u003cp>So far, if you didn’t know that a non-human compiled this list, it probably wouldn’t arouse any suspicion that it was churned out by a computer. What would absolutely be a red flag, though, is the remaining four albums.\u003c/p>\n\u003ch2>A.I. inevitably misinterprets and misinforms\u003c/h2>\n\u003cp>Anyone worth their salt in hip-hop knows that regional pride is one of the most beautiful and sacred aspects of the culture. You would never catch a New York-bred rapper repping Chicago, and you wouldn’t label a Southern rapper’s music as representative of the Midwestern experience. It’s practically hip-hop law to flex your area code; to misinterpret or overlook these regional distinctions is definitely a violation of hip-hop’s territorial ethos.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So to put Public Enemy (a pioneering East Coast group), Aceyalone (a distinguished L.A. lyricist recently nominated for a Grammy), Dr. Dre (is there anyone, besides Snoop, who is more representative of L.A.?), and Arrested Development (an Atlanta-bred collective) on a Bay Area rap list is alarmingly off-base.\u003c/p>\n\u003cp>To the credit of ChatGPT, it provides context for its choices, and that’s where its failures got especially interesting. It’s where the cultural layers became nuanced, and where ChatGPT — whose parent company, OpenAI, is based in San Francisco — failed to distinguish literal information from regional common sense.\u003c/p>\n\u003cp>According to the bot’s Ultron-esque index, Public Enemy’s \u003ci>Fear of a Black Planet \u003c/i>was recorded in Sausalito; Aceyalone’s \u003ci>All Balls Don’t Bounce\u003c/i> was recorded in Berkeley; Dr. Dre’s \u003ci>The Chronic \u003c/i>features “Bay Area artists like Too $hort, MC Ren and Eazy-E”; and Arrested Developments’ \u003ci>3 Years, 5 Months and 2 Days in the Life Of… \u003c/i>was recorded in San Francisco.\u003c/p>\n\u003cp>And none of that is true.\u003c/p>\n\u003cp>Public Enemy recorded \u003ci>Black Planet\u003c/i> at \u003ca href=\"https://www.spin.com/2015/04/public-enemy-fear-of-a-black-planet-chuck-d-interview-1990/\">Green Street Recording Studios in New York’s SoHo\u003c/a>. Aceyalone did his thing at \u003ca href=\"https://www.discogs.com/release/2896429-Aceyalone-All-Balls-Dont-Bounce\">Kitchen Sync Studios in Hollywood\u003c/a>. Dr. Dre and his crew of Compton (not Bay Area) rappers laid it down at Death Row Studios in Los Angeles, while Too $hort doesn’t appear anywhere on the project. And Arrested Development, the group that always reps the South? \u003ca href=\"https://lifeoftherecord.com/arrested-development/\">They recorded their debut in, you guessed it, the South\u003c/a>.\u003c/p>\n\u003cp>You’re maybe wondering how the hell ChatGPT got it \u003ci>that\u003c/i> wrong: In what parallel multiverse does Long Island become Sausalito? Why would a group that helped put ATL on the map suddenly switch coasts and record in Frisco?\u003c/p>\n\u003cp>And even if these albums had been recorded in the Bay, would they be considered foundational to the legacy of Bay Area rap, and representative of our region’s unique vibe? I’d vote no.\u003c/p>\n\u003cp>My weekend dabbles with ChatGPT — the highly-touted, highly-automated information generator that can’t yet distinguish cultural fabrics because it is, obviously, \u003ca href=\"https://theconversation.com/it-takes-a-body-to-understand-the-world-why-chatgpt-and-other-language-ais-dont-know-what-theyre-saying-201280\">lacking a sensory connection to our world\u003c/a> — once again reminded me what I’d already sensed. Tech is cool, but it will never be able to replace the grains of our fullest, most intuitive humanity.\u003c/p>\n\u003cp>Maybe that’s because ChatGPT has never danced to Mac Dre or The Whole Damn Yey at a house party in Oakland or San Jose. And let’s hope it never does.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop",
"title": "How a Small, Mighty Independent Magazine Propelled the Hyphy Movement",
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"headTitle": "How a Small, Mighty Independent Magazine Propelled the Hyphy Movement | KQED",
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"content": "\u003cfigure id=\"attachment_13924839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/aRUCKUSEDITOR-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before her rap career took off, Rocky Rivera was the 22-year-old editor-in-chief of ‘Ruckus Magazine.’ Here, she poses with the January/February 2006 issue featuring E-40 on the cover. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\" target=\"_blank\" rel=\"noopener\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>In 2005, Keak Da Sneak dropped “Super Hyphy,” and encapsulated an entire Bay Area movement.\u003c/p>\n\u003cp>The region’s homegrown rap style had broken into the mainstream that year, and the Oakland rapper took credit for coining its name. The music video starts with him competing at a spelling bee, defining “hyphy” for the masses. (“Me and my homies popped purple pills and went hyphy at the sideshow,” the pronouncer reads when Keak asks him to use the word in a sentence.) As Keak raps with boundless energy, bursting with pride, he stands in front of a magazine cover with his face on it. [aside postid='arts_13924109']\u003c/p>\n\u003cp>That magazine was \u003ci>Ruckus\u003c/i>, and I was its 22-year-old editor-in-chief. At the time, I was a journalism student at San Francisco State University, itching to graduate because I was already doing what I loved: interviewing my hometown heroes and breaking new artists. I knew I was on the verge of something bigger than myself, and my timing couldn’t have been more perfect. Among labels, artists and local media, there was a crescendo of efforts to take hyphy nationwide.\u003c/p>\n\u003cp>https://youtu.be/KrH-VKYY3nw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a successful September/October 2005 cover story, Keak asked us to produce his music video, and references to our mag were sprinkled throughout it like little Bay Area Easter eggs.\u003c/p>\n\u003cp>\u003ci>Ruckus\u003c/i>’ “Dime of the Month,” Veronica from San Jose, was cast as the “naughty teacher” vixen. And with a cameo from Oakland’s Keyshia Cole, the hottest R&B artist to break that year, and turfing crew The Animaniakz, “Super Hyphy” became a primer on how folks in the Bay got down. It was just one example of how our magazine influenced the hyphy movement and taught the rest of the country on our lingo, our unique local customs. [pullquote size='large']Among labels, artists and local media, there was a crescendo of efforts to take hyphy nationwide.[/pullquote]\u003c/p>\n\u003cp>The mid-2000s were a time of major shifts for the Bay Area rap scene. Just months prior to the “Super Hyphy” video release, one of the Bay’s biggest rap stars, Mac Dre, was gunned down on tour in Kansas City, Missouri. His death galvanized unity between long-squabbling turfs in his hometown of Vallejo, and the rest of the Bay followed suit. Mac Dre’s famous “thizz face” and throwing up “T’s” became part of the movement’s lexicon. And even as creative energy bubbled, there was a sense of grief. A lot of us were determined to carry Mac Dre’s torch forward into an unsteady future for Bay Area hip-hop.\u003c/p>\n\u003cp>\u003cem>Ruckus\u003c/em> was embedded in the culture. Our photographer, Vivian Chen, shot the Hyphy Juice ads for Clyde Carson of The Team, and I was slanging biographies for artists’ press kits on the side. Ruckus was an incubator of talent, a staunch advocate for independent artists and a foreshadowing of how music media would be consumed in the future.\u003c/p>\n\u003cfigure id=\"attachment_13924840\" class=\"wp-caption aligncenter\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/aDSC_1066-vivianchen.jpg\" alt=\"\" width=\"429\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aDSC_1066-vivianchen.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aDSC_1066-vivianchen-160x235.jpg 160w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and San Francisco rapper Cellski during a photoshoot in 2006. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its best, \u003ci>Ruckus Magazine\u003c/i> was a scrappy outlier in the publishing world, an independent magazine not tied to Manhattan-based record labels or media empires. Following in the footsteps of local rap publications like \u003ci>4080\u003c/i> and \u003ci>Murder Dog\u003c/i>, which both launched in the early ’90s, it understood the importance of underground artists, and of balancing the scales in a way that included regional sounds. Our stories covered Zion I, DJ Shadow and QBert, and we didn’t shy away from mobb music artists like \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener\">The Jacka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\" target=\"_blank\" rel=\"noopener\">Cellski\u003c/a> and Pretty Black. We even featured mainstream artists like Damian Marley and Ghostface Killah. With two Asian Americans, William Htun and Collin Lam, as the co-founders, \u003ci>Ruckus\u003c/i> represented a diversity in the hip-hop publishing world that was rarely seen. And its shrunken size fit perfectly in your back pocket. [aside postid='arts_13924042']\u003c/p>\n\u003cp>But at its worst, \u003ci>Ruckus\u003c/i> perpetuated misogynistic portrayals of women, and barely scratched the surface of the Bay Area’s progressive politics and deep history of racial solidarity. Though I loved hip-hop, it was difficult to reconcile the sexism I witnessed and experienced as a writer with newfound visibility and power. I pushed for women to be featured on the covers of the six issues I edited in 2005 and ’06, but never succeeded. And I constantly deflected rappers who came on to me during interviews and cornered me in dark clubs.\u003c/p>\n\u003cp>I saw how other women in the scene, the ones called “groupies,” were treated as less than human. But I convinced myself that I had a loftier purpose and was different. Even though the top three positions on \u003ci>Ruckus\u003c/i>’ masthead were filled by women, that didn’t protect us from misogyny that permeated hip-hop to the core. When one of my bosses said I reminded them of Kim Osorio of \u003ci>The Source\u003c/i>, they didn’t seem to refer to her skills as an editor-in-chief. I understood the comparison to mean a pretty face, a hired gun, who served the purposes of the men in the room.\u003c/p>\n\u003cp>The idealistic euphoria of the first three issues of \u003ci>Ruckus\u003c/i> eventually transitioned into the need to keep up with the other hip-hop magazines we considered our competition. The co-founders flexed their industry plugs and put established rappers like Cam’ron and Nas on the cover, while I was still trying to prioritize local artists and women like Keyshia Cole.\u003c/p>\n\u003cfigure id=\"attachment_13924843\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tooshort01-vivianchen.jpg\" alt=\"\" width=\"630\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tooshort01-vivianchen.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tooshort01-vivianchen-160x109.jpg 160w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Back, left to right: Rocky Rivera and Too $hort. Front, right to left: ‘Ruckus’ photographer Vivian Chen and advertising salesperson Arlene Romana. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine had a “Dime of the Month” section to objectify — I mean, highlight — sexy women. I protested silently by editing everything except that segment. I felt like the sore thumb, the nail that needed to be hammered down to make way for more advertising dollars.\u003c/p>\n\u003cp>Eventually, I “quietly quit” by applying for the MTV reality competition \u003ci>I’m From Rolling Stone\u003c/i> after seeing a MySpace bulletin for auditions. With my airbrushed face on my hoodie, a clip of me interviewing Too $hort and, of course, my gold bottoms, I secured the audition, and eventually won the \u003ci>Rolling Stone\u003c/i> contributing editor position that was the show’s prize. \u003ci>Ruckus\u003c/i> folded while MTV filmed me interviewing DMX in Harlem and dancing on stage with George Clinton in Denmark.\u003c/p>\n\u003cp>Many magazines also didn’t make it in the years leading up to the 2008 recession. By the time we went from Friendster to MySpace, every major publication was on the chopping block. And with social media’s explosion in the 2010s, artists gained the power to control their narratives, and the role of independent magazines inevitably diminished. Even \u003ci>Rolling Stone\u003c/i> took a hit when its large format shrunk down to a standard size.\u003c/p>\n\u003cfigure id=\"attachment_13924844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC_1830-vivianchen-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and Mistah F.A.B. show off their grills in 2006. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hyphy never truly popped off like it could have with more industry support, and eventually it fizzled out. But in the back of my closet, I still have my airbrushed Vans and matching T-shirt with Mac Dre’s face, along with my gold bottoms and several archived copies of the little magazine that launched my journalism career. I break them out every once in a while to remember the days of hip-hop before social media, and to remind my high school-aged son where these relics came from. It’s all documented right there, in Keak’s video, and among the treasured keepsakes dear to those of us born in the analog age.\u003c/p>\n\u003cp>And me? I switched careers and became the \u003ca href=\"https://www.youtube.com/@RockyRivera415\" target=\"_blank\" rel=\"noopener\">progressive feminist rap artist known as Rocky Rivera\u003c/a>. I took every lesson I learned, every door slammed in my face and every sexist rumor about how I “got the story,” and put these experiences into verses that eviscerated my critics. In my rap career, I’ve written from a perspective that never was prioritized: my own. Though I’m grateful for the part \u003cem>Ruckus\u003c/em> and I played in Bay Area hip-hop history, writing my own story became my biggest success.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/aRUCKUSEDITOR-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aRUCKUSEDITOR.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before her rap career took off, Rocky Rivera was the 22-year-old editor-in-chief of ‘Ruckus Magazine.’ Here, she poses with the January/February 2006 issue featuring E-40 on the cover. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\" target=\"_blank\" rel=\"noopener\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>In 2005, Keak Da Sneak dropped “Super Hyphy,” and encapsulated an entire Bay Area movement.\u003c/p>\n\u003cp>The region’s homegrown rap style had broken into the mainstream that year, and the Oakland rapper took credit for coining its name. The music video starts with him competing at a spelling bee, defining “hyphy” for the masses. (“Me and my homies popped purple pills and went hyphy at the sideshow,” the pronouncer reads when Keak asks him to use the word in a sentence.) As Keak raps with boundless energy, bursting with pride, he stands in front of a magazine cover with his face on it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That magazine was \u003ci>Ruckus\u003c/i>, and I was its 22-year-old editor-in-chief. At the time, I was a journalism student at San Francisco State University, itching to graduate because I was already doing what I loved: interviewing my hometown heroes and breaking new artists. I knew I was on the verge of something bigger than myself, and my timing couldn’t have been more perfect. Among labels, artists and local media, there was a crescendo of efforts to take hyphy nationwide.\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/KrH-VKYY3nw'\n title='//www.youtube.com/embed/KrH-VKYY3nw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a successful September/October 2005 cover story, Keak asked us to produce his music video, and references to our mag were sprinkled throughout it like little Bay Area Easter eggs.\u003c/p>\n\u003cp>\u003ci>Ruckus\u003c/i>’ “Dime of the Month,” Veronica from San Jose, was cast as the “naughty teacher” vixen. And with a cameo from Oakland’s Keyshia Cole, the hottest R&B artist to break that year, and turfing crew The Animaniakz, “Super Hyphy” became a primer on how folks in the Bay got down. It was just one example of how our magazine influenced the hyphy movement and taught the rest of the country on our lingo, our unique local customs. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mid-2000s were a time of major shifts for the Bay Area rap scene. Just months prior to the “Super Hyphy” video release, one of the Bay’s biggest rap stars, Mac Dre, was gunned down on tour in Kansas City, Missouri. His death galvanized unity between long-squabbling turfs in his hometown of Vallejo, and the rest of the Bay followed suit. Mac Dre’s famous “thizz face” and throwing up “T’s” became part of the movement’s lexicon. And even as creative energy bubbled, there was a sense of grief. A lot of us were determined to carry Mac Dre’s torch forward into an unsteady future for Bay Area hip-hop.\u003c/p>\n\u003cp>\u003cem>Ruckus\u003c/em> was embedded in the culture. Our photographer, Vivian Chen, shot the Hyphy Juice ads for Clyde Carson of The Team, and I was slanging biographies for artists’ press kits on the side. Ruckus was an incubator of talent, a staunch advocate for independent artists and a foreshadowing of how music media would be consumed in the future.\u003c/p>\n\u003cfigure id=\"attachment_13924840\" class=\"wp-caption aligncenter\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/aDSC_1066-vivianchen.jpg\" alt=\"\" width=\"429\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aDSC_1066-vivianchen.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/aDSC_1066-vivianchen-160x235.jpg 160w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and San Francisco rapper Cellski during a photoshoot in 2006. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its best, \u003ci>Ruckus Magazine\u003c/i> was a scrappy outlier in the publishing world, an independent magazine not tied to Manhattan-based record labels or media empires. Following in the footsteps of local rap publications like \u003ci>4080\u003c/i> and \u003ci>Murder Dog\u003c/i>, which both launched in the early ’90s, it understood the importance of underground artists, and of balancing the scales in a way that included regional sounds. Our stories covered Zion I, DJ Shadow and QBert, and we didn’t shy away from mobb music artists like \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener\">The Jacka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\" target=\"_blank\" rel=\"noopener\">Cellski\u003c/a> and Pretty Black. We even featured mainstream artists like Damian Marley and Ghostface Killah. With two Asian Americans, William Htun and Collin Lam, as the co-founders, \u003ci>Ruckus\u003c/i> represented a diversity in the hip-hop publishing world that was rarely seen. And its shrunken size fit perfectly in your back pocket. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at its worst, \u003ci>Ruckus\u003c/i> perpetuated misogynistic portrayals of women, and barely scratched the surface of the Bay Area’s progressive politics and deep history of racial solidarity. Though I loved hip-hop, it was difficult to reconcile the sexism I witnessed and experienced as a writer with newfound visibility and power. I pushed for women to be featured on the covers of the six issues I edited in 2005 and ’06, but never succeeded. And I constantly deflected rappers who came on to me during interviews and cornered me in dark clubs.\u003c/p>\n\u003cp>I saw how other women in the scene, the ones called “groupies,” were treated as less than human. But I convinced myself that I had a loftier purpose and was different. Even though the top three positions on \u003ci>Ruckus\u003c/i>’ masthead were filled by women, that didn’t protect us from misogyny that permeated hip-hop to the core. When one of my bosses said I reminded them of Kim Osorio of \u003ci>The Source\u003c/i>, they didn’t seem to refer to her skills as an editor-in-chief. I understood the comparison to mean a pretty face, a hired gun, who served the purposes of the men in the room.\u003c/p>\n\u003cp>The idealistic euphoria of the first three issues of \u003ci>Ruckus\u003c/i> eventually transitioned into the need to keep up with the other hip-hop magazines we considered our competition. The co-founders flexed their industry plugs and put established rappers like Cam’ron and Nas on the cover, while I was still trying to prioritize local artists and women like Keyshia Cole.\u003c/p>\n\u003cfigure id=\"attachment_13924843\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tooshort01-vivianchen.jpg\" alt=\"\" width=\"630\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tooshort01-vivianchen.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tooshort01-vivianchen-160x109.jpg 160w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Back, left to right: Rocky Rivera and Too $hort. Front, right to left: ‘Ruckus’ photographer Vivian Chen and advertising salesperson Arlene Romana. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine had a “Dime of the Month” section to objectify — I mean, highlight — sexy women. I protested silently by editing everything except that segment. I felt like the sore thumb, the nail that needed to be hammered down to make way for more advertising dollars.\u003c/p>\n\u003cp>Eventually, I “quietly quit” by applying for the MTV reality competition \u003ci>I’m From Rolling Stone\u003c/i> after seeing a MySpace bulletin for auditions. With my airbrushed face on my hoodie, a clip of me interviewing Too $hort and, of course, my gold bottoms, I secured the audition, and eventually won the \u003ci>Rolling Stone\u003c/i> contributing editor position that was the show’s prize. \u003ci>Ruckus\u003c/i> folded while MTV filmed me interviewing DMX in Harlem and dancing on stage with George Clinton in Denmark.\u003c/p>\n\u003cp>Many magazines also didn’t make it in the years leading up to the 2008 recession. By the time we went from Friendster to MySpace, every major publication was on the chopping block. And with social media’s explosion in the 2010s, artists gained the power to control their narratives, and the role of independent magazines inevitably diminished. Even \u003ci>Rolling Stone\u003c/i> took a hit when its large format shrunk down to a standard size.\u003c/p>\n\u003cfigure id=\"attachment_13924844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC_1830-vivianchen-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC_1830-vivianchen-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and Mistah F.A.B. show off their grills in 2006. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hyphy never truly popped off like it could have with more industry support, and eventually it fizzled out. But in the back of my closet, I still have my airbrushed Vans and matching T-shirt with Mac Dre’s face, along with my gold bottoms and several archived copies of the little magazine that launched my journalism career. I break them out every once in a while to remember the days of hip-hop before social media, and to remind my high school-aged son where these relics came from. It’s all documented right there, in Keak’s video, and among the treasured keepsakes dear to those of us born in the analog age.\u003c/p>\n\u003cp>And me? I switched careers and became the \u003ca href=\"https://www.youtube.com/@RockyRivera415\" target=\"_blank\" rel=\"noopener\">progressive feminist rap artist known as Rocky Rivera\u003c/a>. I took every lesson I learned, every door slammed in my face and every sexist rumor about how I “got the story,” and put these experiences into verses that eviscerated my critics. In my rap career, I’ve written from a perspective that never was prioritized: my own. Though I’m grateful for the part \u003cem>Ruckus\u003c/em> and I played in Bay Area hip-hop history, writing my own story became my biggest success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Before ‘I Gott Grapes,’ Nump Engineered Some of Hyphy’s Biggest Hits",
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"content": "\u003cp>\u003ci>\u003cb>Editor’s note:\u003c/b> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\" target=\"_blank\" rel=\"noopener noreferrer\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>If you were into Bay Area hip-hop in the mid-2000s, you probably know the answer to the question, “Who got purple?” With “I Gott Grapes,” Nump made a hit that helped take the hyphy movement across the world.\u003c/p>\n\u003cp>Beyond his classic track, Nump has a solid body of work as a rapper and an audio engineer. But his journey in the music industry wasn’t easy. A true \u003ci>Student ov da Game\u003c/i>, as E-40 dubbed him on his 2009 sophomore album, he had to climb his way up — literally, as his first gig was “sniping” flyers onto telephone poles. [pullquote citation='Nump' align='right' size='medium']‘I’m still hyphy, and my kids is too. It ain’t just an era, it’s an expression.’[/pullquote]\u003c/p>\n\u003cp>After he graduated from the Conservatory of Recording Arts and Sciences in Arizona in the early 2000s, Nump hustled his way through unpaid internships, first at Green Day’s Studio 880 in Oakland’s Jingletown, where he alphabetized records for \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\" target=\"_blank\" rel=\"noopener\">Blackalicious\u003c/a>’ Chief Xcel after hours. Later, at \u003ca href=\"https://www.discogs.com/artist/174134-Michael-Denten\" target=\"_blank\" rel=\"noopener\">Michael Denton\u003c/a>’s \u003ca href=\"https://www.infinitestudios.com/\" target=\"_blank\" rel=\"noopener\">Infinite Studios\u003c/a> in Nump’s hometown of Alameda, he ascended to house engineer. As the hyphy movement began to take off, Nump worked on some of the Bay Area’s most beloved songs, including Keak Da Sneak’s “White T-Shirt, Blue Jeans and Nikes” and The Federation’s “Hyphy.”\u003c/p>\n\u003cp>“That was my dream. And it all happened. Until I became Nump the touring artist, that was the best ‘the grit don’t quit’ story,” Nump says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was at Infinite Studios that Nump met E-40 — a relationship that would change his life forever. Nump has credits on some of E-40’s best-known albums, including \u003ca href=\"https://www.youtube.com/playlist?list=PL_UQr4mEaiZZMBHoFhb256C8mMhELh6yR\" target=\"_blank\" rel=\"noopener\">\u003ci>My Ghetto Report Card\u003c/i>\u003c/a>, and Forty Water equipped him with the connections and experience that turned “I Gott Grapes” into a hit. “Once E-40 met me, we had a bromance,” Nump says. “I showed him hard work ethic, and we got along great.”\u003c/p>\n\u003cp>https://youtu.be/1lV34zt_9Wk\u003c/p>\n\u003cp>When we meet for lunch in the East Bay suburbs on a recent rainy afternoon, Nump is in dad mode, with his three elementary school-aged children in tow. But a Sick Wid It Records forearm tattoo, iced-out chains and a neon-orange beanie embroidered with his \u003ca href=\"https://open.spotify.com/album/3aTLwvvyQUAipmwaWgrrEe\" target=\"_blank\" rel=\"noopener\">\u003ci>Lapu Lapu\u003c/i> album\u003c/a> signal that he’s still hyphy — just grown up.\u003c/p>\n\u003cp>Now, Nump is helping preserve the Bay Area’s hip-hop legacy for generations to come. In addition to his \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener\">many entrepreneurial ventures\u003c/a>, he’s an executive producer of Laurence Madrigal’s documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>We Were Hyphy\u003c/i>\u003c/a>, which makes its \u003ca href=\"http://kqed.org/arts/13924109/stream-we-were-hyphy-documentary\">global streaming premiere today on KQED\u003c/a>. Here, he shares some incredible stories about the musical movement that came to define Bay Area rap in the aughts and beyond.\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13924087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump with his family. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>NASTIA VOYNOVSKAYA: \u003c/b>Can you tell me about those \u003ci>My Ghetto Report Card\u003c/i> sessions with E-40? Those had to be legendary.\u003c/p>\n\u003cp>\u003cb>NUMP: \u003c/b>Are you ready for this? So, the song “\u003ca href=\"https://youtu.be/luzJj7eFPPY\" target=\"_blank\" rel=\"noopener\">Gouda\u003c/a>,” where he’s counting his money. He had just come up with the word “gouda.” We were recording this shit and he was like, “Five, ten, 15, gouda / 20, 25, 30, chalupa.” That wasn’t something he planned to say, he just ended up going off top. And that ended up being the hardest part of the hook.\u003c/p>\n\u003cp>I remember going to Atlanta to do some sessions with Lil Jon [who produced \u003cem>My Ghetto Report Card\u003c/em> with Rick Rock], and we go to the studio and Crime Mob pulls up, David Banner pulls up — all these South legends. My first time ever in the South, first time ever in Atlanta. And yeah, man, he was just making hit after hit. [aside postid='arts_13924109']\u003c/p>\n\u003cp>\u003cb>Were Rick Rock and Lil Jon in the studio together making beats?\u003c/b>\u003c/p>\n\u003cp>I don’t remember those sessions, but I worked a whole shit ton with Rick Rock. Not only helping him with the E-40 shit — I did the whole Federation project from head to toe, even the skits. We’re like this [\u003ci>crosses fingers\u003c/i>].\u003c/p>\n\u003cp>So that’s how I got Stresmatic and Doonie [of the Federation] on “I Gott Grapes.” We were hanging out so much, one day I was like, “Hey, I got the studio to myself.” Just using them opportunities. I told Mike [Denton], I’ll run all your studio sessions, but please let me just work after, and I’ll take care of your shit. That’s the reason why I’m here today. I always gotta show love to Mike Denton.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/24nGNva2CJnP8gBDYmJwXK?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>So that album you worked on with the Federation was what broke them — especially the song “Hyphy.”\u003c/b>\u003c/p>\n\u003cp>“\u003ca href=\"https://youtu.be/sfb6N9nSFpQ\" target=\"_blank\" rel=\"noopener\">Hyphy\u003c/a>” was crazy. I remember when they made that remix and they had San Quinn and Keak da Sneak on that shit, and they started adding the “White T-shirt, Blue Jeans and Nikes” beat behind Keak’s verse. I remember editing all that with them.\u003c/p>\n\u003cp>And working with Rick Rock off top — this fool is a genius. Maybe back in the day, like a Beethoven, you smell me? He could be on the MPC working on a slap, hear a sound, switch, turn that one off, go now make a whole new blap. The first song I got to work on [with him] was “White T-shirt, Blue Jeans and Nikes.” I sat in on that session and was like, “Oh my God, this that new Keak Da Sneak shit!” Imagine me, I’m a fan. I’m a Baydestrian. And now I’m behind the scenes doing what I love and engineering.\u003c/p>\n\u003cp>https://youtu.be/BcOzQ-SKlH0\u003c/p>\n\u003cp>Seeing how Rick Rock works actually evolved my style because I was blessed to be around these great motherfuckers. And when they would leave, I’m cleaning up, and now I’m messing around trying to make my own shit. I just saw Bruce Lee fight and train, but I saw what he did to do that high kick. Now he left the dojo — let me practice.\u003c/p>\n\u003cp>\u003cb>So tell me about how “I Gott Grapes” became a hit.\u003c/b>\u003c/p>\n\u003cp>We made the song that night. It was me, Doonie Baby and Stresmatic, [the producer] D1 and myself. So the song is done, and that night we’re all turnt. We go straight to the club — Ibiza in Oakland, it was hella poppin’ at the time. I give DJ E Rock the CD, he plays it, and it’s like a real-life movie scene. Everyone was singing the hook by the second time they heard it. He ran it back and played it again and they still wouldn’t stop. And that’s when we knew we made a banger.\u003c/p>\n\u003cp>That night I remember E Rock trying to take the CD from me, and I was like, “Nah, bruh, I can’t do it. It’s not done yet.” And he was like, “Nah, I already got it anyways.” But he was drunk, slippin’. I took the CD out of his backpack.\u003c/p>\n\u003cp>A lot of people really wanted to — not take my song, but at least use it because they knew it was so good. But I believed in it so much, like, “Nah, the only one who gonna put it out is me.”\u003c/p>\n\u003cp>So fast forward, I finally get an engineering session with E-40. It was probably five in the morning. We were probably on one or whatever, it’s been a long night. And I was like, “40, before we wrap it up, can I get you on this song? It’s already ready.”\u003c/p>\n\u003cp>So he did it. We’re recording it, you know, all he had to do was say, “I got grapes” like four, five, six times. I’m an engineer, so I’m layering this shit. And I’m hearing him go, “ough” or “yee.” He’s feeling himself. So I would take them little soundbites and I had it sprinkled all through the track. D1 did what he had to do with the beat, and that’s how we made “I Gott Grapes” featuring E-40 and the Federation.\u003c/p>\n\u003cfigure id=\"attachment_13924088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump looked up to E-40 growing up, and eventually became one of his go-to engineers during the hyphy movement. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we would go to the club. At that time, E-40 had a nightclub called the Ambassador’s Lounge.\u003c/p>\n\u003cp>\u003cb>San Jose, right?\u003c/b>\u003c/p>\n\u003cp>San Jose, which was yankin’. Every Friday, there was a celebrity guest. Before Uber, 40 would call a limo, and if I’m the engineer, “Come on, you want to roll with me?” Katt Williams came with us one time. But the big memory was Nate Dogg. My patna was giggin’ — you know how they did it on \u003ci>Treal TV\u003c/i> — gig so hard your pants fall down. Nate Dogg was like, “What the fuck is this?” That’s how we dance out here, man. So RIP Nate Dogg. I’m just blessed to say I got to work with him and he was dope as fuck.\u003c/p>\n\u003cp>\u003cb>How did your life change after “I Gott Grapes”?\u003c/b>\u003c/p>\n\u003cp>Shout out to Big Von and Scotty Fox, they had \u003ci>On the Block\u003c/i> on KMEL. And at that time if you was a local Bay Area artist, that was the biggest platform to get your music heard. And they would always show me fuckin’ love.\u003c/p>\n\u003cp>After “I Gott Grapes” started poppin’ and I started doing shows, people were fuckin’ with me because of my energy. When I would do the concerts, they were like, “Bruh, this fool is lit. This fool is hyphy, going dumb, all that.” And I dressed the part too. I always had my stunna shades on, baggy clothes. I used to wear size 42 Girbauds, 4XL tall tees all the time.\u003c/p>\n\u003cp>https://youtu.be/jGoUezD5CxE\u003c/p>\n\u003cp>Then I got on MTV \u003ci>My Block\u003c/i>, Bay Area. And once that happened, my whole shit spiraled to the roof, to the moon, you feel me? I booked to go on DJ Shadow’s European tour with Mistah F.A.B. He wanted to show Europe how the hyphy movement was poppin’. We all bonded so well, we went to like eight countries. I mean, Lisbon, Portugal; Brussels, Belgium; Leeds; London; Barcelona, Spain and a couple of other ones.\u003c/p>\n\u003cp>And once I got back from Europe, I booked a Philippines and Asia tour. Then my shit kept going. I had my sophomore album \u003ca href=\"https://open.spotify.com/album/1PNXaz0wpnhYVi0qUMtIvR\" target=\"_blank\" rel=\"noopener\">\u003ci>Student ov da Game\u003c/i>\u003c/a>. The first single was called “Legalize My Medicine.”\u003c/p>\n\u003cp>\u003cb>With M.I.A.?\u003c/b>\u003c/p>\n\u003cp>Funny story about M.I.A. She hit us up. She liked the song “I Gott Grapes.” We finally connected. She talked to my brother D1, she talked to me. The next thing you know, the label calls. “Hey, we got your fuckin’ front-row tickets to go see M.I.A. It’s her last day on tour, she wants to meet y’all.” She’s playing at the Coliseum opening for Gwen Stefani, and this is when she dropped that “it’s bananas.” So we’re at this whole weird little youngster concert. M.I.A. is performing, it’s dope — I don’t know any of her music. But in the middle of her set she goes, “Hey, who got purple? I got grapes!” Swear to god. I wish I had IG back then or even a camera phone.\u003c/p>\n\u003cp>https://youtu.be/iMwM8EjebKY\u003c/p>\n\u003cp>We all hang out backstage. M.I.A. hangs out with us for a whole week and a half and basically stays in San Jose, works with D1 and they just make slaps. And it’s funny because we were at our aunty house doing the beat in the laundry room. When she got there, she’s like, “Where’s the studio?” We’re like, “This is the studio.” She’s like, “How do you listen to it? “Right here, put the headphones on.” She was like, “Oh, hell nah.” She went to Guitar Center and bought us speakers.\u003c/p>\n\u003cp>So after that happened, we built a cool little relationship.\u003c/p>\n\u003cp>\u003cb>You worked with Messy Marv pretty extensively too. Tell me about that.\u003c/b>\u003c/p>\n\u003cp>I really got a lot of respect for Messy Marv. He was the first person to call me Nump. When I met him, I was already a house engineer at Mike Denton’s, I was super excited. It was like right before [Messy Marv’s 2004] \u003ca href=\"https://open.spotify.com/album/6LWdXPpdVShQI8Sp6bryhW\" target=\"_blank\" rel=\"noopener\">\u003ci>Disobayish\u003c/i>\u003c/a> album — classic. I did that whole album from head to toe. No one would work like Mess. I was there when he was trying to shop a deal for Warner Brothers, when hyphy was at its peak, when all these labels was really looking at us.\u003c/p>\n\u003cfigure id=\"attachment_13924090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg\" alt=\"\" width=\"800\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump with Messy Marv. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> What do you remember about working with Mac Dre?\u003c/b>\u003c/p>\n\u003cp>So Mac Dre came to the studio, shout out to Jonas [Teele]. He brings Mac Dre, and this is the time where \u003ca href=\"https://youtu.be/3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener\">\u003ci>Treal TV\u003c/i>\u003c/a> is the most popular DVD. We’re watching that DVD on loop every day, morning, noon and night. So this fool comes to the studio and I’m slightweight — I’m starstruck.\u003c/p>\n\u003cp>There’s a glass door right by the studio with a reflection, and he just giggin’ to the beat, looking at himself. And I’ll never forget, he had Vans on. Just real proper. He has some kind of Lacoste collared shirt on. He was business casual in my book.\u003c/p>\n\u003cp>So the rule at Infinite Studios is no smoking in the studio, and Mac Dre lit a Wood up. I was like, “Oh my God.” And I remembered in the DVD he was like, “Man, the engineer didn’t let me smoke in the studio, man. I had to take his top off, man.” And it showed him kneeing his head, right? So I’m like, “What do I do?” So my engineering brain starts troubleshooting. I open up all the doors, light hella incense. He’s in and out. Mac Dre could write his verse, lay it down and have it sound perfect in 30 minutes.\u003c/p>\n\u003cp>\u003cb>When you toured, what cities did you really see resonating with the hyphy movement?\u003c/b>\u003c/p>\n\u003cp>Hawaii loved the hyphy shit. Las Vegas. Seattle. A lot of the West Coast was really tapped in with the hyphy shit. But in the Philippines, they was really on me. They was on the \u003ci>Treal TV\u003c/i>, watching the shit. [aside postid='arts_13924126']\u003c/p>\n\u003cp>\u003cb>Was that your first time in the Philippines?\u003c/b>\u003c/p>\n\u003cp>It was my first time. I call it the motherland. It was a blessing because it showed me that I really need to be with my culture more. At that time, I really wasn’t tapped in how I should have been, even though I represented the \u003ca href=\"https://open.spotify.com/album/2zNP0qUityo240VXX1bN48\" target=\"_blank\" rel=\"noopener\">Gorillapino\u003c/a> side. They call us Fil-Am because we’re Filipino American. So what I learned from that was like, man, let me step it up. Let me learn this Tagalog, and from there [I started] learning the stories. And that’s what really got me excited about my culture, knowing that like a guy like \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener\">Lapu Lapu\u003c/a> — Magellan tried to take over the Philippines, and Lapu Lapu was there ready to slice his head off. They had to run back to the boat and go with a plan B because they don’t expect us Filipinos to be savages like that. I teach it to the kids to this day.\u003c/p>\n\u003cp>That is actually one of my future goals in 2023, 2024, to curate and create more content for my Filipino people in the culture.\u003c/p>\n\u003cp>https://youtu.be/TdEaQwVvnNs\u003c/p>\n\u003cp>\u003cb>And there are a lot of \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener\">influential Filipinos in Bay Area hip-hop\u003c/a>. Were you inspired by the ones who came before?\u003c/b>\u003c/p>\n\u003cp>Mine was KNT out of the City, they had the song with San Quinn, “Come See Us,” and they had that song “\u003ca href=\"https://youtu.be/m0-vvM0wJ2g\" target=\"_blank\" rel=\"noopener\">Cutty Bang\u003c/a>.” I was inspired by DJs, QBert and DJ Shortkut. It wasn’t a lot of us. But now, in 2023, from P-Lo to Guapdad to Ruby Ibarra to Saweetie to Bambu to H.E.R. It’s very inspiring. And it’s just dope to see H.E.R. on a fucking huge platform like Disney and my kids could see that and go, “She’s Filipino too.”\u003c/p>\n\u003cfigure id=\"attachment_13924091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump and Mike Dream’s friends, family and members of the TDK graffiti crew on the set of Nump’s ‘Be Like Mike Dream’ music video. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You have a track dedicated to the graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\" target=\"_blank\" rel=\"noopener\">Mike Dream\u003c/a>. Can you talk about why he’s important?\u003c/b>\u003c/p>\n\u003cp>Thank you for asking this question. My kids are heavily into graffiti, it’s a blessing. So the story is I was at Street Jam in San Jose, this Filipino festival. And I just remember that these fools were giving tattoos outside, and back then that was rare. So I was just watching what they doing, being curious, admiring it. I saw this literature they had, and it was all about “RIP Mike Dream.” And I just collected it all and saved it. I used to have a cubicle job — I put that up in my cubicle. That’s actually what paid for my school.\u003c/p>\n\u003cp>Fast forward, I made that song called “Be Like Mike Dream” — be like Mike, but not Michael Jordan. I was just so infatuated and inspired, and I had no clue. I just saw his style of graffiti, I really didn’t know no stories of how great he was for the community. Not until I met everybody. After I made the song, I was at Infinite Studios, and one of my brothers there, Jonas, was tapped in with Mike Dream[’s family]. So he brought the brother and a cousin through, and they all gave me my blessing. They all did my video shoot, and the rest is history. His son Akil is in there with my daughter, Trinity. Now they’re in their early 20s — back then, they’re like five. So that song meant more to me because, not just that I paid homage to a Filipino legend, but I also got to make a whole new family with that whole graffiti side, with the TDK crew and all them.\u003c/p>\n\u003cp>https://youtu.be/HDs0cvGS9Fs\u003c/p>\n\u003cp>\u003cb>OK, hyphy nostalgia lightning round. Where were some of your favorite places to perform in the Bay?\u003c/b>\u003c/p>\n\u003cp>Santa Cruz, the Catalyst. And in Petaluma, DJ Amen would do the “Super Hyphys” at Phoenix Theatre. I did a show there when “I Gott Grapes” was at its peak. I always used to do this fuckin’ skit, right? I’m an entertainer. I stop the record — “Hey, hold on, man. I want y’all to know real quick, we shootin’ the video for ‘I Gott Grapes.’ So if you see the camera, turn the fuck up.” And I’d do that everywhere. But at this particular time, it must have been the energy — these motherfuckers was going stuey.\u003c/p>\n\u003cp>And in the Town, On Broadway was the one, that was the spot. If you ever could perform over there or just pull up after the club was over, we would parking-lot all day over there, right across from Nation’s. And then San Jose, of course, the Ambassador’s Lounge.\u003c/p>\n\u003cp>But I used to do all the open mics, like every night of the week if I could — before I was even Nump and I was just trying to rap with my patnas, I would go to Club 510 in Fremont and all the San Jose open mics. And I always had my CDs, my merch and was always outside. And my friends were doing the same shit, until the point that we was outside at Berkeley, Rasputin’s, and we would all have some type of mixtape or album out. We were collecting our bread like a real job.\u003c/p>\n\u003cp>\u003cb>Do you remember your first sideshow?\u003c/b> [aside postid='arts_13924167']\u003c/p>\n\u003cp>Hell nah, that shit happened all the time. I just remember that shit be lit.\u003c/p>\n\u003cp>\u003cb>Do you remember your favorite tall tee?\u003c/b>\u003c/p>\n\u003cp>I had an “I Gott Grapes” one that I’d always wear. I had a Mac Dre airbrush one that I was really excited about, and I had one of Carlos Rossi Rhine. I used to always drink Carlos Rossi like E-40. I looked up to him so much, so whatever he did, I wanted to do just like him. And actually my patnas, we used to make our own tall tees until we met Prospect, the airbrush guy, and he was doing everything. Shout out to Filthy Dripped on Telegraph in Berkeley.\u003c/p>\n\u003cp>\u003cb>So what was it like when the hyphy movement started to end?\u003c/b>\u003c/p>\n\u003cp>Everything started sounding more like R&B radio style. Atlanta was kind of taking over with their sound. Nothing really changed with me. I was still dressing baggy, and I had to not get into a couple of clubs [because of dress code] and really start realizing, “Bro, I’ve got to transition. I gotta stop thinking that I’m in this era.” There were a few moments of that.\u003c/p>\n\u003cfigure id=\"attachment_13924089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad.jpg 946w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump and The Jacka. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now that we’re looking back on the hyphy movement as a piece of history, how do you want people to remember it?\u003c/b>\u003c/p>\n\u003cp>Positivity. Number one, bringing everybody together of all different cultures, all different colors, all different sizes, all different ages. Outside, just moving as one, ’cause the energy is there — no matter if you’re offbeat dancing, jumping around, going crazy or just laidback, bobbing your head, you could feel that hyphy spirit, and it’s still out there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And I want to say, because everybody be online like, “Aw, why you call the movie \u003ci>We Were Hyphy\u003c/i>? I’m still hyphy.” No, fam, I’m not saying we \u003ci>aren’t\u003c/i> hyphy anymore. This is just an era when we were \u003ci>all\u003c/i> hyphy, and we’re trying to document it and show you guys what it was like. I’m still hyphy, and my kids is too. It ain’t just an era, it’s an expression.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Editor’s note:\u003c/b> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\" target=\"_blank\" rel=\"noopener noreferrer\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>If you were into Bay Area hip-hop in the mid-2000s, you probably know the answer to the question, “Who got purple?” With “I Gott Grapes,” Nump made a hit that helped take the hyphy movement across the world.\u003c/p>\n\u003cp>Beyond his classic track, Nump has a solid body of work as a rapper and an audio engineer. But his journey in the music industry wasn’t easy. A true \u003ci>Student ov da Game\u003c/i>, as E-40 dubbed him on his 2009 sophomore album, he had to climb his way up — literally, as his first gig was “sniping” flyers onto telephone poles. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After he graduated from the Conservatory of Recording Arts and Sciences in Arizona in the early 2000s, Nump hustled his way through unpaid internships, first at Green Day’s Studio 880 in Oakland’s Jingletown, where he alphabetized records for \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\" target=\"_blank\" rel=\"noopener\">Blackalicious\u003c/a>’ Chief Xcel after hours. Later, at \u003ca href=\"https://www.discogs.com/artist/174134-Michael-Denten\" target=\"_blank\" rel=\"noopener\">Michael Denton\u003c/a>’s \u003ca href=\"https://www.infinitestudios.com/\" target=\"_blank\" rel=\"noopener\">Infinite Studios\u003c/a> in Nump’s hometown of Alameda, he ascended to house engineer. As the hyphy movement began to take off, Nump worked on some of the Bay Area’s most beloved songs, including Keak Da Sneak’s “White T-Shirt, Blue Jeans and Nikes” and The Federation’s “Hyphy.”\u003c/p>\n\u003cp>“That was my dream. And it all happened. Until I became Nump the touring artist, that was the best ‘the grit don’t quit’ story,” Nump says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was at Infinite Studios that Nump met E-40 — a relationship that would change his life forever. Nump has credits on some of E-40’s best-known albums, including \u003ca href=\"https://www.youtube.com/playlist?list=PL_UQr4mEaiZZMBHoFhb256C8mMhELh6yR\" target=\"_blank\" rel=\"noopener\">\u003ci>My Ghetto Report Card\u003c/i>\u003c/a>, and Forty Water equipped him with the connections and experience that turned “I Gott Grapes” into a hit. “Once E-40 met me, we had a bromance,” Nump says. “I showed him hard work ethic, and we got along great.”\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/1lV34zt_9Wk'\n title='//www.youtube.com/embed/1lV34zt_9Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When we meet for lunch in the East Bay suburbs on a recent rainy afternoon, Nump is in dad mode, with his three elementary school-aged children in tow. But a Sick Wid It Records forearm tattoo, iced-out chains and a neon-orange beanie embroidered with his \u003ca href=\"https://open.spotify.com/album/3aTLwvvyQUAipmwaWgrrEe\" target=\"_blank\" rel=\"noopener\">\u003ci>Lapu Lapu\u003c/i> album\u003c/a> signal that he’s still hyphy — just grown up.\u003c/p>\n\u003cp>Now, Nump is helping preserve the Bay Area’s hip-hop legacy for generations to come. In addition to his \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener\">many entrepreneurial ventures\u003c/a>, he’s an executive producer of Laurence Madrigal’s documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>We Were Hyphy\u003c/i>\u003c/a>, which makes its \u003ca href=\"http://kqed.org/arts/13924109/stream-we-were-hyphy-documentary\">global streaming premiere today on KQED\u003c/a>. Here, he shares some incredible stories about the musical movement that came to define Bay Area rap in the aughts and beyond.\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13924087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Nump-3-square-scaled-e1674583437718.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump with his family. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>NASTIA VOYNOVSKAYA: \u003c/b>Can you tell me about those \u003ci>My Ghetto Report Card\u003c/i> sessions with E-40? Those had to be legendary.\u003c/p>\n\u003cp>\u003cb>NUMP: \u003c/b>Are you ready for this? So, the song “\u003ca href=\"https://youtu.be/luzJj7eFPPY\" target=\"_blank\" rel=\"noopener\">Gouda\u003c/a>,” where he’s counting his money. He had just come up with the word “gouda.” We were recording this shit and he was like, “Five, ten, 15, gouda / 20, 25, 30, chalupa.” That wasn’t something he planned to say, he just ended up going off top. And that ended up being the hardest part of the hook.\u003c/p>\n\u003cp>I remember going to Atlanta to do some sessions with Lil Jon [who produced \u003cem>My Ghetto Report Card\u003c/em> with Rick Rock], and we go to the studio and Crime Mob pulls up, David Banner pulls up — all these South legends. My first time ever in the South, first time ever in Atlanta. And yeah, man, he was just making hit after hit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Were Rick Rock and Lil Jon in the studio together making beats?\u003c/b>\u003c/p>\n\u003cp>I don’t remember those sessions, but I worked a whole shit ton with Rick Rock. Not only helping him with the E-40 shit — I did the whole Federation project from head to toe, even the skits. We’re like this [\u003ci>crosses fingers\u003c/i>].\u003c/p>\n\u003cp>So that’s how I got Stresmatic and Doonie [of the Federation] on “I Gott Grapes.” We were hanging out so much, one day I was like, “Hey, I got the studio to myself.” Just using them opportunities. I told Mike [Denton], I’ll run all your studio sessions, but please let me just work after, and I’ll take care of your shit. That’s the reason why I’m here today. I always gotta show love to Mike Denton.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/24nGNva2CJnP8gBDYmJwXK?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>So that album you worked on with the Federation was what broke them — especially the song “Hyphy.”\u003c/b>\u003c/p>\n\u003cp>“\u003ca href=\"https://youtu.be/sfb6N9nSFpQ\" target=\"_blank\" rel=\"noopener\">Hyphy\u003c/a>” was crazy. I remember when they made that remix and they had San Quinn and Keak da Sneak on that shit, and they started adding the “White T-shirt, Blue Jeans and Nikes” beat behind Keak’s verse. I remember editing all that with them.\u003c/p>\n\u003cp>And working with Rick Rock off top — this fool is a genius. Maybe back in the day, like a Beethoven, you smell me? He could be on the MPC working on a slap, hear a sound, switch, turn that one off, go now make a whole new blap. The first song I got to work on [with him] was “White T-shirt, Blue Jeans and Nikes.” I sat in on that session and was like, “Oh my God, this that new Keak Da Sneak shit!” Imagine me, I’m a fan. I’m a Baydestrian. And now I’m behind the scenes doing what I love and engineering.\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/BcOzQ-SKlH0'\n title='//www.youtube.com/embed/BcOzQ-SKlH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seeing how Rick Rock works actually evolved my style because I was blessed to be around these great motherfuckers. And when they would leave, I’m cleaning up, and now I’m messing around trying to make my own shit. I just saw Bruce Lee fight and train, but I saw what he did to do that high kick. Now he left the dojo — let me practice.\u003c/p>\n\u003cp>\u003cb>So tell me about how “I Gott Grapes” became a hit.\u003c/b>\u003c/p>\n\u003cp>We made the song that night. It was me, Doonie Baby and Stresmatic, [the producer] D1 and myself. So the song is done, and that night we’re all turnt. We go straight to the club — Ibiza in Oakland, it was hella poppin’ at the time. I give DJ E Rock the CD, he plays it, and it’s like a real-life movie scene. Everyone was singing the hook by the second time they heard it. He ran it back and played it again and they still wouldn’t stop. And that’s when we knew we made a banger.\u003c/p>\n\u003cp>That night I remember E Rock trying to take the CD from me, and I was like, “Nah, bruh, I can’t do it. It’s not done yet.” And he was like, “Nah, I already got it anyways.” But he was drunk, slippin’. I took the CD out of his backpack.\u003c/p>\n\u003cp>A lot of people really wanted to — not take my song, but at least use it because they knew it was so good. But I believed in it so much, like, “Nah, the only one who gonna put it out is me.”\u003c/p>\n\u003cp>So fast forward, I finally get an engineering session with E-40. It was probably five in the morning. We were probably on one or whatever, it’s been a long night. And I was like, “40, before we wrap it up, can I get you on this song? It’s already ready.”\u003c/p>\n\u003cp>So he did it. We’re recording it, you know, all he had to do was say, “I got grapes” like four, five, six times. I’m an engineer, so I’m layering this shit. And I’m hearing him go, “ough” or “yee.” He’s feeling himself. So I would take them little soundbites and I had it sprinkled all through the track. D1 did what he had to do with the beat, and that’s how we made “I Gott Grapes” featuring E-40 and the Federation.\u003c/p>\n\u003cfigure id=\"attachment_13924088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/b196f9d6-8ead-4914-9e3b-808ea08ba1b1.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump looked up to E-40 growing up, and eventually became one of his go-to engineers during the hyphy movement. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we would go to the club. At that time, E-40 had a nightclub called the Ambassador’s Lounge.\u003c/p>\n\u003cp>\u003cb>San Jose, right?\u003c/b>\u003c/p>\n\u003cp>San Jose, which was yankin’. Every Friday, there was a celebrity guest. Before Uber, 40 would call a limo, and if I’m the engineer, “Come on, you want to roll with me?” Katt Williams came with us one time. But the big memory was Nate Dogg. My patna was giggin’ — you know how they did it on \u003ci>Treal TV\u003c/i> — gig so hard your pants fall down. Nate Dogg was like, “What the fuck is this?” That’s how we dance out here, man. So RIP Nate Dogg. I’m just blessed to say I got to work with him and he was dope as fuck.\u003c/p>\n\u003cp>\u003cb>How did your life change after “I Gott Grapes”?\u003c/b>\u003c/p>\n\u003cp>Shout out to Big Von and Scotty Fox, they had \u003ci>On the Block\u003c/i> on KMEL. And at that time if you was a local Bay Area artist, that was the biggest platform to get your music heard. And they would always show me fuckin’ love.\u003c/p>\n\u003cp>After “I Gott Grapes” started poppin’ and I started doing shows, people were fuckin’ with me because of my energy. When I would do the concerts, they were like, “Bruh, this fool is lit. This fool is hyphy, going dumb, all that.” And I dressed the part too. I always had my stunna shades on, baggy clothes. I used to wear size 42 Girbauds, 4XL tall tees all the time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jGoUezD5CxE'\n title='//www.youtube.com/embed/jGoUezD5CxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then I got on MTV \u003ci>My Block\u003c/i>, Bay Area. And once that happened, my whole shit spiraled to the roof, to the moon, you feel me? I booked to go on DJ Shadow’s European tour with Mistah F.A.B. He wanted to show Europe how the hyphy movement was poppin’. We all bonded so well, we went to like eight countries. I mean, Lisbon, Portugal; Brussels, Belgium; Leeds; London; Barcelona, Spain and a couple of other ones.\u003c/p>\n\u003cp>And once I got back from Europe, I booked a Philippines and Asia tour. Then my shit kept going. I had my sophomore album \u003ca href=\"https://open.spotify.com/album/1PNXaz0wpnhYVi0qUMtIvR\" target=\"_blank\" rel=\"noopener\">\u003ci>Student ov da Game\u003c/i>\u003c/a>. The first single was called “Legalize My Medicine.”\u003c/p>\n\u003cp>\u003cb>With M.I.A.?\u003c/b>\u003c/p>\n\u003cp>Funny story about M.I.A. She hit us up. She liked the song “I Gott Grapes.” We finally connected. She talked to my brother D1, she talked to me. The next thing you know, the label calls. “Hey, we got your fuckin’ front-row tickets to go see M.I.A. It’s her last day on tour, she wants to meet y’all.” She’s playing at the Coliseum opening for Gwen Stefani, and this is when she dropped that “it’s bananas.” So we’re at this whole weird little youngster concert. M.I.A. is performing, it’s dope — I don’t know any of her music. But in the middle of her set she goes, “Hey, who got purple? I got grapes!” Swear to god. I wish I had IG back then or even a camera phone.\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/iMwM8EjebKY'\n title='//www.youtube.com/embed/iMwM8EjebKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We all hang out backstage. M.I.A. hangs out with us for a whole week and a half and basically stays in San Jose, works with D1 and they just make slaps. And it’s funny because we were at our aunty house doing the beat in the laundry room. When she got there, she’s like, “Where’s the studio?” We’re like, “This is the studio.” She’s like, “How do you listen to it? “Right here, put the headphones on.” She was like, “Oh, hell nah.” She went to Guitar Center and bought us speakers.\u003c/p>\n\u003cp>So after that happened, we built a cool little relationship.\u003c/p>\n\u003cp>\u003cb>You worked with Messy Marv pretty extensively too. Tell me about that.\u003c/b>\u003c/p>\n\u003cp>I really got a lot of respect for Messy Marv. He was the first person to call me Nump. When I met him, I was already a house engineer at Mike Denton’s, I was super excited. It was like right before [Messy Marv’s 2004] \u003ca href=\"https://open.spotify.com/album/6LWdXPpdVShQI8Sp6bryhW\" target=\"_blank\" rel=\"noopener\">\u003ci>Disobayish\u003c/i>\u003c/a> album — classic. I did that whole album from head to toe. No one would work like Mess. I was there when he was trying to shop a deal for Warner Brothers, when hyphy was at its peak, when all these labels was really looking at us.\u003c/p>\n\u003cfigure id=\"attachment_13924090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg\" alt=\"\" width=\"800\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump with Messy Marv. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> What do you remember about working with Mac Dre?\u003c/b>\u003c/p>\n\u003cp>So Mac Dre came to the studio, shout out to Jonas [Teele]. He brings Mac Dre, and this is the time where \u003ca href=\"https://youtu.be/3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener\">\u003ci>Treal TV\u003c/i>\u003c/a> is the most popular DVD. We’re watching that DVD on loop every day, morning, noon and night. So this fool comes to the studio and I’m slightweight — I’m starstruck.\u003c/p>\n\u003cp>There’s a glass door right by the studio with a reflection, and he just giggin’ to the beat, looking at himself. And I’ll never forget, he had Vans on. Just real proper. He has some kind of Lacoste collared shirt on. He was business casual in my book.\u003c/p>\n\u003cp>So the rule at Infinite Studios is no smoking in the studio, and Mac Dre lit a Wood up. I was like, “Oh my God.” And I remembered in the DVD he was like, “Man, the engineer didn’t let me smoke in the studio, man. I had to take his top off, man.” And it showed him kneeing his head, right? So I’m like, “What do I do?” So my engineering brain starts troubleshooting. I open up all the doors, light hella incense. He’s in and out. Mac Dre could write his verse, lay it down and have it sound perfect in 30 minutes.\u003c/p>\n\u003cp>\u003cb>When you toured, what cities did you really see resonating with the hyphy movement?\u003c/b>\u003c/p>\n\u003cp>Hawaii loved the hyphy shit. Las Vegas. Seattle. A lot of the West Coast was really tapped in with the hyphy shit. But in the Philippines, they was really on me. They was on the \u003ci>Treal TV\u003c/i>, watching the shit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Was that your first time in the Philippines?\u003c/b>\u003c/p>\n\u003cp>It was my first time. I call it the motherland. It was a blessing because it showed me that I really need to be with my culture more. At that time, I really wasn’t tapped in how I should have been, even though I represented the \u003ca href=\"https://open.spotify.com/album/2zNP0qUityo240VXX1bN48\" target=\"_blank\" rel=\"noopener\">Gorillapino\u003c/a> side. They call us Fil-Am because we’re Filipino American. So what I learned from that was like, man, let me step it up. Let me learn this Tagalog, and from there [I started] learning the stories. And that’s what really got me excited about my culture, knowing that like a guy like \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener\">Lapu Lapu\u003c/a> — Magellan tried to take over the Philippines, and Lapu Lapu was there ready to slice his head off. They had to run back to the boat and go with a plan B because they don’t expect us Filipinos to be savages like that. I teach it to the kids to this day.\u003c/p>\n\u003cp>That is actually one of my future goals in 2023, 2024, to curate and create more content for my Filipino people in the culture.\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/TdEaQwVvnNs'\n title='//www.youtube.com/embed/TdEaQwVvnNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>And there are a lot of \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener\">influential Filipinos in Bay Area hip-hop\u003c/a>. Were you inspired by the ones who came before?\u003c/b>\u003c/p>\n\u003cp>Mine was KNT out of the City, they had the song with San Quinn, “Come See Us,” and they had that song “\u003ca href=\"https://youtu.be/m0-vvM0wJ2g\" target=\"_blank\" rel=\"noopener\">Cutty Bang\u003c/a>.” I was inspired by DJs, QBert and DJ Shortkut. It wasn’t a lot of us. But now, in 2023, from P-Lo to Guapdad to Ruby Ibarra to Saweetie to Bambu to H.E.R. It’s very inspiring. And it’s just dope to see H.E.R. on a fucking huge platform like Disney and my kids could see that and go, “She’s Filipino too.”\u003c/p>\n\u003cfigure id=\"attachment_13924091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/98f13f72-62e7-470f-847a-bf0255abdb05.jpg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump and Mike Dream’s friends, family and members of the TDK graffiti crew on the set of Nump’s ‘Be Like Mike Dream’ music video. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You have a track dedicated to the graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\" target=\"_blank\" rel=\"noopener\">Mike Dream\u003c/a>. Can you talk about why he’s important?\u003c/b>\u003c/p>\n\u003cp>Thank you for asking this question. My kids are heavily into graffiti, it’s a blessing. So the story is I was at Street Jam in San Jose, this Filipino festival. And I just remember that these fools were giving tattoos outside, and back then that was rare. So I was just watching what they doing, being curious, admiring it. I saw this literature they had, and it was all about “RIP Mike Dream.” And I just collected it all and saved it. I used to have a cubicle job — I put that up in my cubicle. That’s actually what paid for my school.\u003c/p>\n\u003cp>Fast forward, I made that song called “Be Like Mike Dream” — be like Mike, but not Michael Jordan. I was just so infatuated and inspired, and I had no clue. I just saw his style of graffiti, I really didn’t know no stories of how great he was for the community. Not until I met everybody. After I made the song, I was at Infinite Studios, and one of my brothers there, Jonas, was tapped in with Mike Dream[’s family]. So he brought the brother and a cousin through, and they all gave me my blessing. They all did my video shoot, and the rest is history. His son Akil is in there with my daughter, Trinity. Now they’re in their early 20s — back then, they’re like five. So that song meant more to me because, not just that I paid homage to a Filipino legend, but I also got to make a whole new family with that whole graffiti side, with the TDK crew and all them.\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/HDs0cvGS9Fs'\n title='//www.youtube.com/embed/HDs0cvGS9Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>OK, hyphy nostalgia lightning round. Where were some of your favorite places to perform in the Bay?\u003c/b>\u003c/p>\n\u003cp>Santa Cruz, the Catalyst. And in Petaluma, DJ Amen would do the “Super Hyphys” at Phoenix Theatre. I did a show there when “I Gott Grapes” was at its peak. I always used to do this fuckin’ skit, right? I’m an entertainer. I stop the record — “Hey, hold on, man. I want y’all to know real quick, we shootin’ the video for ‘I Gott Grapes.’ So if you see the camera, turn the fuck up.” And I’d do that everywhere. But at this particular time, it must have been the energy — these motherfuckers was going stuey.\u003c/p>\n\u003cp>And in the Town, On Broadway was the one, that was the spot. If you ever could perform over there or just pull up after the club was over, we would parking-lot all day over there, right across from Nation’s. And then San Jose, of course, the Ambassador’s Lounge.\u003c/p>\n\u003cp>But I used to do all the open mics, like every night of the week if I could — before I was even Nump and I was just trying to rap with my patnas, I would go to Club 510 in Fremont and all the San Jose open mics. And I always had my CDs, my merch and was always outside. And my friends were doing the same shit, until the point that we was outside at Berkeley, Rasputin’s, and we would all have some type of mixtape or album out. We were collecting our bread like a real job.\u003c/p>\n\u003cp>\u003cb>Do you remember your first sideshow?\u003c/b> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hell nah, that shit happened all the time. I just remember that shit be lit.\u003c/p>\n\u003cp>\u003cb>Do you remember your favorite tall tee?\u003c/b>\u003c/p>\n\u003cp>I had an “I Gott Grapes” one that I’d always wear. I had a Mac Dre airbrush one that I was really excited about, and I had one of Carlos Rossi Rhine. I used to always drink Carlos Rossi like E-40. I looked up to him so much, so whatever he did, I wanted to do just like him. And actually my patnas, we used to make our own tall tees until we met Prospect, the airbrush guy, and he was doing everything. Shout out to Filthy Dripped on Telegraph in Berkeley.\u003c/p>\n\u003cp>\u003cb>So what was it like when the hyphy movement started to end?\u003c/b>\u003c/p>\n\u003cp>Everything started sounding more like R&B radio style. Atlanta was kind of taking over with their sound. Nothing really changed with me. I was still dressing baggy, and I had to not get into a couple of clubs [because of dress code] and really start realizing, “Bro, I’ve got to transition. I gotta stop thinking that I’m in this era.” There were a few moments of that.\u003c/p>\n\u003cfigure id=\"attachment_13924089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/257fe056-0668-40b9-b124-40986b7a32ad.jpg 946w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump and The Jacka. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now that we’re looking back on the hyphy movement as a piece of history, how do you want people to remember it?\u003c/b>\u003c/p>\n\u003cp>Positivity. Number one, bringing everybody together of all different cultures, all different colors, all different sizes, all different ages. Outside, just moving as one, ’cause the energy is there — no matter if you’re offbeat dancing, jumping around, going crazy or just laidback, bobbing your head, you could feel that hyphy spirit, and it’s still out there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And I want to say, because everybody be online like, “Aw, why you call the movie \u003ci>We Were Hyphy\u003c/i>? I’m still hyphy.” No, fam, I’m not saying we \u003ci>aren’t\u003c/i> hyphy anymore. This is just an era when we were \u003ci>all\u003c/i> hyphy, and we’re trying to document it and show you guys what it was like. I’m still hyphy, and my kids is too. It ain’t just an era, it’s an expression.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene",
"headTitle": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene | KQED",
"content": "\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "An intergenerational crowd braved the heat wave to see Keyshia Cole, Hieroglyphics, LaRussell and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Luniz and 3X Krazy Reunite to Celebrate Soul Beat, the First Black-Owned TV Network",
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"content": "\u003cp>If you lived in Oakland in the ’80s and ’90s, chances are you turned on your television and witnessed history in the making—even if it was 3am and you’d just switched the channel to a call-in show involving jokes and insults from a man called Night Doggie.\u003c/p>\n\u003cp>The channel was called \u003ca href=\"https://soulbeatnetwork.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>, and it’s recognized as \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">the first Black-owned TV network\u003c/a>. It was started in 1978 by a former Marine named Chuck Johnson, who understood the East Oakland community in ways the cable TV giants never could. Comedy shows, homemade commercials and rap videos made Soul Beat a hub for the newest sounds and fashions, and the latest Oakland news, until it folded in 2003.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySQmXtwz-AI\u003c/p>\n\u003cp>Today, the memory of Soul Beat is kept alive \u003ca href=\"https://www.instagram.com/soulbeattv/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a>, on T-shirts and at events by a Soul Beat personality who happens to also be named Chuck Johnson (no relation). \u003c/p>\n\u003cp>“One thing that will never go away is the conversation about Soul Beat,” Johnson says. “I can be in a different world, doing something totally different, and someone who’s older, younger, in the music industry, working at city hall, on the street—they’ll bring up Soul Beat! It’s almost like Soul Beat represents the soundtrack of people’s lives.”\u003c/p>\n\u003cp>The younger Chuck hosted the Rap Show on Soul Beat, where he interviewed artists like Jay-Z and the Fugees early in their careers. So it’s only natural that for Soul Beat Day, a celebration of the network in Oakland on July 30, he’s convened three legends of ’90s Oakland rap to perform.\u003c/p>\n\u003cp>[aside postID='arts_13877570']The biggest news is a special reunion of 3x Krazy, the group that included Keak da Sneak before he struck out on his own, and who hasn’t performed together in over 10 years. “Everybody’s lives have been going in different directions, in different time zones, so even to get them together is a big thing,” Johnson says.\u003c/p>\n\u003cp>Just as notable is a reunion of the Luniz, the group behind the Bay Area anthem “I Got 5 On It.” (Members Yukmouth and Numskull hadn’t talked in about a year, but Johnson got them on the phone together at 1am one night, and by the end of the conversation, they’d agreed to perform.) The lineup also has Dru Down, sure to perform his hit song “Pimp of the Year,” a number of guest DJs and hosts. \u003c/p>\n\u003cp>The good news is you won’t have to stay up until 3am to celebrate Soul Beat. This is a daytime event, from 2-7pm, on Saturday, July 30, and it all goes down at the New Parish in Oakland. \u003ca href=\"https://www.ticketweb.com/event/soul-beat-day-w-luniz-the-new-parish-tickets/12286725#:~:text=to%207%20p.m.-,Oakland%2C%20CA%20%E2%80%93%20(June%2030%2C%202022)%20%E2%80%93%20The,The%20Luniz%20and%203x%20Krazy!\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you lived in Oakland in the ’80s and ’90s, chances are you turned on your television and witnessed history in the making—even if it was 3am and you’d just switched the channel to a call-in show involving jokes and insults from a man called Night Doggie.\u003c/p>\n\u003cp>The channel was called \u003ca href=\"https://soulbeatnetwork.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>, and it’s recognized as \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">the first Black-owned TV network\u003c/a>. It was started in 1978 by a former Marine named Chuck Johnson, who understood the East Oakland community in ways the cable TV giants never could. Comedy shows, homemade commercials and rap videos made Soul Beat a hub for the newest sounds and fashions, and the latest Oakland news, until it folded in 2003.\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/ySQmXtwz-AI'\n title='//www.youtube.com/embed/ySQmXtwz-AI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, the memory of Soul Beat is kept alive \u003ca href=\"https://www.instagram.com/soulbeattv/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a>, on T-shirts and at events by a Soul Beat personality who happens to also be named Chuck Johnson (no relation). \u003c/p>\n\u003cp>“One thing that will never go away is the conversation about Soul Beat,” Johnson says. “I can be in a different world, doing something totally different, and someone who’s older, younger, in the music industry, working at city hall, on the street—they’ll bring up Soul Beat! It’s almost like Soul Beat represents the soundtrack of people’s lives.”\u003c/p>\n\u003cp>The younger Chuck hosted the Rap Show on Soul Beat, where he interviewed artists like Jay-Z and the Fugees early in their careers. So it’s only natural that for Soul Beat Day, a celebration of the network in Oakland on July 30, he’s convened three legends of ’90s Oakland rap to perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest news is a special reunion of 3x Krazy, the group that included Keak da Sneak before he struck out on his own, and who hasn’t performed together in over 10 years. “Everybody’s lives have been going in different directions, in different time zones, so even to get them together is a big thing,” Johnson says.\u003c/p>\n\u003cp>Just as notable is a reunion of the Luniz, the group behind the Bay Area anthem “I Got 5 On It.” (Members Yukmouth and Numskull hadn’t talked in about a year, but Johnson got them on the phone together at 1am one night, and by the end of the conversation, they’d agreed to perform.) The lineup also has Dru Down, sure to perform his hit song “Pimp of the Year,” a number of guest DJs and hosts. \u003c/p>\n\u003cp>The good news is you won’t have to stay up until 3am to celebrate Soul Beat. This is a daytime event, from 2-7pm, on Saturday, July 30, and it all goes down at the New Parish in Oakland. \u003ca href=\"https://www.ticketweb.com/event/soul-beat-day-w-luniz-the-new-parish-tickets/12286725#:~:text=to%207%20p.m.-,Oakland%2C%20CA%20%E2%80%93%20(June%2030%2C%202022)%20%E2%80%93%20The,The%20Luniz%20and%203x%20Krazy!\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "remembering-traxamillion-whose-beats-defined-the-bay-area-sound",
"title": "Remembering Traxamillion, Whose Beats Defined the Bay Area Sound",
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"content": "\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\n\u003cp>https://youtu.be/eumCos1fh5Y\u003c/p>\n\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>[pullquote size='large' citation='Keak Da Sneak']“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement.”[/pullquote]\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \u003c/p>\n\u003cp>https://youtu.be/w7zd6fVCORE\u003c/p>\n\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \u003c/p>\n\u003cp>https://youtu.be/h4d7UwaNrIQ\u003c/p>\n\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>[pullquote size='large' citation='Mistah F.A.B.']“I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region.”[/pullquote]\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\u003c/p>\n\u003cp>https://youtu.be/rsMhenbNtjE\u003c/p>\n\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eumCos1fh5Y'\n title='//www.youtube.com/embed/eumCos1fh5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \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/w7zd6fVCORE'\n title='//www.youtube.com/embed/w7zd6fVCORE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h4d7UwaNrIQ'\n title='//www.youtube.com/embed/h4d7UwaNrIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\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/bPbgNHDpgAY'\n title='//www.youtube.com/embed/bPbgNHDpgAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\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/rsMhenbNtjE'\n title='//www.youtube.com/embed/rsMhenbNtjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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