Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party
Listen: Our ‘That’s My Word’ DJ Mix Honors 36 Years of Women in Hip-Hop
How a Small, Mighty Independent Magazine Propelled the Hyphy Movement
How Dungeness Crab Brings Bay Area Communities Together
A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy
Rocky Rivera Restores Justice Across the Board
Rapper and Activist Rocky Rivera Embraces Growth In Her First Book, ‘Snakeskin’
Sa-Roc, Alia Sharrief, Rocky Rivera Join Forces for Women's Empowerment Summit
On Mommas
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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","blocks":[],"excerpt":"Performances by the Luniz, Keak Da Sneak, Mac Mall and others celebrate the Bay Area's contributions to hip-hop.\r\n","status":"publish","parent":0,"modified":1705005318,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":523},"headData":{"title":"Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party | KQED","description":"Performances by the Luniz, Keak Da Sneak, Mac Mall and others celebrate the Bay Area's contributions to hip-hop.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party","datePublished":"2023-07-03T11:27:35-07:00","dateModified":"2024-01-11T12:35:18-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"dregs-one-turns-history-of-the-bay-into-an-epic-san-francisco-day-party","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931387","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938,arts_13931108","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_20453","arts_19561","arts_10278","arts_903","arts_831","arts_21047","arts_2173","arts_6299","arts_19496","arts_4219","arts_1146","arts_14114","arts_585"],"featImg":"arts_13931462","label":"arts_140"},"arts_13927070":{"type":"posts","id":"arts_13927070","meta":{"index":"posts_1591205157","site":"arts","id":"13927070","score":null,"sort":[1680113321000]},"guestAuthors":[],"slug":"listen-our-thats-my-word-dj-mix-honors-36-years-of-women-in-hip-hop","title":"Listen: Our ‘That’s My Word’ DJ Mix Honors 36 Years of Women in Hip-Hop","publishDate":1680113321,"format":"standard","headTitle":"Listen: Our ‘That’s My Word’ DJ Mix Honors 36 Years of Women in Hip-Hop | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/i>\u003c/p>\n\u003cp>Women’s contributions to the Bay Area hip-hop scene are rarely at the forefront, but they’re all that we’re banging in this exclusive music mix of tracks from 1987 to 2023. [aside label='More on Women in Bay Area Hip-Hop' postid='arts_13925177,arts_13924828,arts_13906176']\u003c/p>\n\u003cp>I grew up watching the wonderful \u003ca href=\"https://www.instagram.com/diprimaradio/?hl=en\">Dominique DiPrima\u003c/a> on \u003cem>Home Turf\u003c/em> (which aired from 1984 to 1992), and wanted to become a DJ after seeing teenagers named QBert and Mix Master Mike spinning live on the local weekly show. Seeing DiPrima as the host communicated to my young mind that there were no boundaries for women in hip-hop. Decades later, though, female Northern California rap legends are still largely unsung, and artists featured in this mix — like The Deffa Heffa, Suga-T, New Choice and Marvaless — are not as known as their male counterparts.\u003c/p>\n\u003cp>Press play and feel a spectrum of vibes conjured by mixing 36 years of Bay Area hip-hop history from a woman’s perspective. This set was recorded live with love on turntables, with no edits or premeditated order, and is dedicated to the memories of \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">DJ Stef\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam The Funkstress\u003c/a>, who each make a sentimental appearance.\u003c/p>\n\u003cp>Please note that there are a few selections in the mix that are lacking in audio quality — that’s because they’re not currently available in digital form commercially, but they merit inclusion so that the work isn’t completely lost to time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"120\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&feed=%2Fteemoney415%2Fbay-area-women-in-rap%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>The Conscious Daughters, “Somethin’ to Ride to (Fonky Expedition)” (1993)\u003c/p>\n\u003cp>Female Fonk, “Sucka Free” (1993)\u003c/p>\n\u003cp>Suga-T, “Suga Daddy” (1996)\u003c/p>\n\u003cp>Kamaiyah, “How Does It Feel” (2016)\u003c/p>\n\u003cp>The Deffa Heffa featuring Suga-T, “Shay Deffa” (2009)\u003c/p>\n\u003cp>CMG and Pam The Funkstress, “Jane and The Funkstress Interlude” (2011)\u003c/p>\n\u003cp>Ruby Ibarra, “Brown Out” (2017)\u003c/p>\n\u003cp>Rocky Rivera, “Brown Babies” (2015)\u003c/p>\n\u003cp>TotogangzMau, “Grow Up” (2023)\u003c/p>\n\u003cp>Marvaless, “Ghetto Blues” (1994)\u003c/p>\n\u003cp>DJ Stef, aircheck from Vinyl Exchange Radio (2007)\u003c/p>\n\u003cp>Mystic, “We Are The People (All Around The World)” (2020)\u003c/p>\n\u003cp>New Choice, “Cold Stupid” (1987)\u003c/p>\n\u003cp>Saweetie featuring H.E.R., “Closer” (2022)\u003c/p>\n\u003cp>Paris Nights, “Ashanti” (2020)\u003c/p>\n\u003cp>Oaktown’s 3.5.7, ”Juicy Gotcha Krazy” (1989)\u003c/p>\n\u003cp>Gina Madrid, “Dame La Mano” (2020)\u003c/p>\n\u003cp>\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","blocks":[],"excerpt":"Behind the decks, DJ and journalist Tamara Palmer spotlights women’s contributions to hip-hop history.","status":"publish","parent":0,"modified":1705005684,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://www.mixcloud.com/widget/iframe/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":441},"headData":{"title":"Listen: Our ‘That’s My Word’ DJ Mix Honors 36 Years of Women in Hip-Hop | KQED","description":"Behind the decks, DJ and journalist Tamara Palmer spotlights women’s contributions to hip-hop history.","ogTitle":"","ogDescription":"","ogImgId":"arts_13927082","twTitle":"","twDescription":"","twImgId":"arts_13927082","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen: Our ‘That’s My Word’ DJ Mix Honors 36 Years of Women in Hip-Hop","datePublished":"2023-03-29T11:08:41-07:00","dateModified":"2024-01-11T12:41:24-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13927070/listen-our-thats-my-word-dj-mix-honors-36-years-of-women-in-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/i>\u003c/p>\n\u003cp>Women’s contributions to the Bay Area hip-hop scene are rarely at the forefront, but they’re all that we’re banging in this exclusive music mix of tracks from 1987 to 2023. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More on Women in Bay Area Hip-Hop ","postid":"arts_13925177,arts_13924828,arts_13906176"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I grew up watching the wonderful \u003ca href=\"https://www.instagram.com/diprimaradio/?hl=en\">Dominique DiPrima\u003c/a> on \u003cem>Home Turf\u003c/em> (which aired from 1984 to 1992), and wanted to become a DJ after seeing teenagers named QBert and Mix Master Mike spinning live on the local weekly show. Seeing DiPrima as the host communicated to my young mind that there were no boundaries for women in hip-hop. Decades later, though, female Northern California rap legends are still largely unsung, and artists featured in this mix — like The Deffa Heffa, Suga-T, New Choice and Marvaless — are not as known as their male counterparts.\u003c/p>\n\u003cp>Press play and feel a spectrum of vibes conjured by mixing 36 years of Bay Area hip-hop history from a woman’s perspective. This set was recorded live with love on turntables, with no edits or premeditated order, and is dedicated to the memories of \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">DJ Stef\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam The Funkstress\u003c/a>, who each make a sentimental appearance.\u003c/p>\n\u003cp>Please note that there are a few selections in the mix that are lacking in audio quality — that’s because they’re not currently available in digital form commercially, but they merit inclusion so that the work isn’t completely lost to time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"120\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&feed=%2Fteemoney415%2Fbay-area-women-in-rap%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>The Conscious Daughters, “Somethin’ to Ride to (Fonky Expedition)” (1993)\u003c/p>\n\u003cp>Female Fonk, “Sucka Free” (1993)\u003c/p>\n\u003cp>Suga-T, “Suga Daddy” (1996)\u003c/p>\n\u003cp>Kamaiyah, “How Does It Feel” (2016)\u003c/p>\n\u003cp>The Deffa Heffa featuring Suga-T, “Shay Deffa” (2009)\u003c/p>\n\u003cp>CMG and Pam The Funkstress, “Jane and The Funkstress Interlude” (2011)\u003c/p>\n\u003cp>Ruby Ibarra, “Brown Out” (2017)\u003c/p>\n\u003cp>Rocky Rivera, “Brown Babies” (2015)\u003c/p>\n\u003cp>TotogangzMau, “Grow Up” (2023)\u003c/p>\n\u003cp>Marvaless, “Ghetto Blues” (1994)\u003c/p>\n\u003cp>DJ Stef, aircheck from Vinyl Exchange Radio (2007)\u003c/p>\n\u003cp>Mystic, “We Are The People (All Around The World)” (2020)\u003c/p>\n\u003cp>New Choice, “Cold Stupid” (1987)\u003c/p>\n\u003cp>Saweetie featuring H.E.R., “Closer” (2022)\u003c/p>\n\u003cp>Paris Nights, “Ashanti” (2020)\u003c/p>\n\u003cp>Oaktown’s 3.5.7, ”Juicy Gotcha Krazy” (1989)\u003c/p>\n\u003cp>Gina Madrid, “Dame La Mano” (2020)\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927070/listen-our-thats-my-word-dj-mix-honors-36-years-of-women-in-hip-hop","authors":["5111"],"categories":["arts_1"],"tags":["arts_8505","arts_831","arts_1558","arts_4219","arts_8924","arts_19347","arts_20141"],"featImg":"arts_13927081","label":"source_arts_13927070"},"arts_13924828":{"type":"posts","id":"arts_13924828","meta":{"index":"posts_1591205157","site":"arts","id":"13924828","score":null,"sort":[1675875606000]},"guestAuthors":[],"slug":"rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop","title":"How a Small, Mighty Independent Magazine Propelled the Hyphy Movement","publishDate":1675875606,"format":"aside","headTitle":"How a Small, Mighty Independent Magazine Propelled the Hyphy Movement | KQED","labelTerm":{},"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","blocks":[],"excerpt":"Rocky Rivera reflects on her time as the taste-making editor-in-chief of 'Ruckus' in the mid-2000s. ","status":"publish","parent":0,"modified":1705005870,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1493},"headData":{"title":"How a Small, Mighty Independent Magazine Propelled the Hyphy Movement | KQED","description":"Rocky Rivera reflects on her time as the taste-making editor-in-chief of 'Ruckus' in the mid-2000s. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a Small, Mighty Independent Magazine Propelled the Hyphy Movement","datePublished":"2023-02-08T09:00:06-08:00","dateModified":"2024-01-11T12:44:30-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"http://kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924109","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Among labels, artists and local media, there was a crescendo of efforts to take hyphy nationwide.","name":"pullquote","attributes":{"named":{"size":"large","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924042","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop","authors":["11846"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_10278","arts_10422","arts_6975","arts_2173","arts_4219","arts_19347"],"featImg":"arts_13924838","label":"source_arts_13924828"},"arts_13924803":{"type":"posts","id":"arts_13924803","meta":{"index":"posts_1591205157","site":"arts","id":"13924803","score":null,"sort":[1675796083000]},"guestAuthors":[],"slug":"dungeness-crab-season-bay-area-kqed-forum-rocky-rivera","title":"How Dungeness Crab Brings Bay Area Communities Together","publishDate":1675796083,"format":"audio","headTitle":"How Dungeness Crab Brings Bay Area Communities Together | KQED","labelTerm":{},"content":"\u003cp>After several delays, Dungeness crab season is finally upon us. That’s a big deal in the Bay Area: Whether the crabs are caught on a boat or off a pier, served in cioppino or over garlic noodles, a shared love for the ingredient has long brought together folks from all different cultural backgrounds.\u003c/p>\n\u003cp>“It always is just a ritual of togetherness, of hoping that you get more than what you got,” journalist, emcee, author and activist Rocky Rivera said of her own crab fishing experiences in a \u003ca href=\"https://www.kqed.org/forum/2010101892038/its-dungeness-crab-season-and-time-to-rhapsodize-about-our-iconic-crustacean\">recent episode of All You Can Eat\u003c/a>, KQED Forum’s biweekly exploration of Bay Area food cultures. “[You’re] having a good time and spending that time together with your family, with your friends, and of course, feasting afterward. That’s a memory that everybody associated with the Bay Area.”\u003c/p>\n\u003cp>Rivera wrote about how integral Dungeness crab was to her San Francisco childhood in a \u003ca href=\"https://www.kqed.org/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco\">recent essay\u003c/a> for KQED, describing late nights spent fishing and cooking with friends and family in the Filipino American community. The biggest response to the article, she said, is that people from all over shared their own personal stories about Dungeness crab — the kinds of stories that formed the basis of the Forum episode.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares a crab net during a fishing trip on Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One caller, Maury from Berkeley, said that the show gave her a sense of nostalgia for her 90s childhood, when she would travel to San Francisco from Modesto to catch crabs. “I remember — whether it be with a bunch of homies or family — we would make an adventure out to Frisco, off of the Fort Mason Pier, and just throw a few nets and play dominoes or play cards and just picnic as we waited to catch crabs,” she said. “It is such a vibe to be able to go out there, put on our favorite Bay rap music as we were journeying out there from Modesto, and then coming back, excited about eating the crabs.”\u003c/p>\n\u003cp>Other callers described Cambodian-style stir fry dishes, steamed crab paired with latkes and even a seasonal crab burrito. Indeed, it seems like everyone in the Bay Area has a Dungeness crab story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the reason why Dungeness crab lends itself to so many different regional cuisines is because of the characteristics of the ingredient itself. “It’s a very luxurious crab,” said KQED food editor Luke Tsai, pointing out that it’s both sweeter and meatier than most other crabs. Charlie Chang, owner of \u003ca href=\"http://www.ppqcrab.com/\">PPQ Dungeness Island\u003c/a>, agreed: “The sweetness of the crab — I mean, you just can’t beat that.” Chang had come on the show to talk about his own restaurant’s contribution to the Bay Area Dungeness crab scene: Vietnamese-style butter-roasted crabs and peppercorn crabs, served with garlic noodles.\u003c/p>\n\u003cp>[aside postID='arts_13923127,arts_13900855,arts_13909648']Edward Wooley of \u003ca href=\"https://www.instagram.com/chefsmelly/?hl=en\">Chef Smelly’s\u003c/a> in Oakland, on the other hand, said he ate so much crab as a child that he no longer enjoys the taste. ““My mother went to an all-you-can-eat crab fest,” the chef recalled. “I just ate so much crab when I got home that I was done with crab.” That hasn’t prevented Wooley’s Oakland restaurant from becoming one of the most well known crab restaurants in the East Bay. The most popular dishes? Wooley’s garlic-butter crab with Creole lemon pepper sauce and his crab gumbo.\u003c/p>\n\u003cp>Despite Dungeness crab’s iconic status in the Bay Area food scene, the West Coast crab industry has faced its share of challenges in recent years. Climate change, dangerous weather conditions and competition from big business all impact the haul brought in by local fishermen. “We’ve seen the season just get postponed later and later each year,” Tsai added, noting that the commercial crab season didn’t start until Dec. 31 this past year — more than six weeks later than usual. He explained that these delays are usually caused by toxic domoic acid levels driven by climate change and warmer water, as well as difficult negotiations between fishermen and penny-pinching seafood distributors.\u003c/p>\n\u003cp>One local fisherman, Matt Juanes, called in to explain that the delays have been especially hard on his business. Here in the Bay Area, he said, it’s traditional to celebrate Thanksgiving and Christmas with Dungeness crab. But for the past few years the crab season has only just barely arrived in time for New Year’s.\u003c/p>\n\u003cfigure id=\"attachment_13924815\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg\" alt=\"A crab fisherman in a trucker hat smiles as he holds up a live Dungeness crab from the deck of his fishing boat.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For crab fisherman Matt Juanes, the Dungeness crab season delays of the past few years have been hard on his business. \u003ccite>(Azul Dahlstrom-Eckman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oh, it’s definitely very difficult for all of us,” Juanes said. “But we’re just trying to work together with nature and do the best we can.”\u003c/p>\n\u003cp>For Rivera, this year’s delay was especially frustrating. “Having a birthday in between Thanksgiving and Christmas, there usually was a guarantee that I would have crab there as my birthday cake,” she said. This was one of the first years that didn’t happen.\u003c/p>\n\u003cp>Rivera’s KQED essay series, \u003ca href=\"https://www.kqed.org/arts/tag/frisco-foodies\">Frisco Foodies\u003c/a>, uses nostalgic food memories as a way to explore all of the ways the Bay Area is changing — all of the traditions that are in danger of being lost.\u003c/p>\n\u003cp>“Like many San Francisco families, especially immigrant families, we’ve incorporated traditions like cioppino and Dungeness and all types of seafood dishes into our celebrations,” Rivera said. “And to not have that for Christmas is really just an indicator of things changing deeply across the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13900955\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg\" alt=\"Overhead view of a plate of garlic noodles and roast crab.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Chef Smelly’s legendary seafood plates, piled high with garlic noodles, shrimp and, of course, Dungeness crab. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"A recent Forum episode celebrated the iconic West Coast crustacean — and explored local crab traditions that are being lost.","status":"publish","parent":0,"modified":1705005874,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1022},"headData":{"title":"KQED Forum: How Dungeness Crab Brings Bay Area Communities Together | KQED","description":"A recent Forum episode celebrated the iconic West Coast crustacean — and explored local crab traditions that are being lost.","ogTitle":"How Dungeness Crab Brings Bay Area Communities Together","ogDescription":"","ogImgId":"","twTitle":"How Dungeness Crab Brings Bay Area Communities Together","twDescription":"","twImgId":"","socialTitle":"KQED Forum: How Dungeness Crab Brings Bay Area Communities Together %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Dungeness Crab Brings Bay Area Communities Together","datePublished":"2023-02-07T10:54:43-08:00","dateModified":"2024-01-11T12:44:34-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","audioUrl":"https://dcs.megaphone.fm/KQINC7291657618.mp3?key=5f37427df6aa934ddab7838960de1f38&request_event_id=1b00cd12-b343-43ad-a694-760e08a93164","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924803/dungeness-crab-season-bay-area-kqed-forum-rocky-rivera","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After several delays, Dungeness crab season is finally upon us. That’s a big deal in the Bay Area: Whether the crabs are caught on a boat or off a pier, served in cioppino or over garlic noodles, a shared love for the ingredient has long brought together folks from all different cultural backgrounds.\u003c/p>\n\u003cp>“It always is just a ritual of togetherness, of hoping that you get more than what you got,” journalist, emcee, author and activist Rocky Rivera said of her own crab fishing experiences in a \u003ca href=\"https://www.kqed.org/forum/2010101892038/its-dungeness-crab-season-and-time-to-rhapsodize-about-our-iconic-crustacean\">recent episode of All You Can Eat\u003c/a>, KQED Forum’s biweekly exploration of Bay Area food cultures. “[You’re] having a good time and spending that time together with your family, with your friends, and of course, feasting afterward. That’s a memory that everybody associated with the Bay Area.”\u003c/p>\n\u003cp>Rivera wrote about how integral Dungeness crab was to her San Francisco childhood in a \u003ca href=\"https://www.kqed.org/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco\">recent essay\u003c/a> for KQED, describing late nights spent fishing and cooking with friends and family in the Filipino American community. The biggest response to the article, she said, is that people from all over shared their own personal stories about Dungeness crab — the kinds of stories that formed the basis of the Forum episode.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares a crab net during a fishing trip on Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One caller, Maury from Berkeley, said that the show gave her a sense of nostalgia for her 90s childhood, when she would travel to San Francisco from Modesto to catch crabs. “I remember — whether it be with a bunch of homies or family — we would make an adventure out to Frisco, off of the Fort Mason Pier, and just throw a few nets and play dominoes or play cards and just picnic as we waited to catch crabs,” she said. “It is such a vibe to be able to go out there, put on our favorite Bay rap music as we were journeying out there from Modesto, and then coming back, excited about eating the crabs.”\u003c/p>\n\u003cp>Other callers described Cambodian-style stir fry dishes, steamed crab paired with latkes and even a seasonal crab burrito. Indeed, it seems like everyone in the Bay Area has a Dungeness crab story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the reason why Dungeness crab lends itself to so many different regional cuisines is because of the characteristics of the ingredient itself. “It’s a very luxurious crab,” said KQED food editor Luke Tsai, pointing out that it’s both sweeter and meatier than most other crabs. Charlie Chang, owner of \u003ca href=\"http://www.ppqcrab.com/\">PPQ Dungeness Island\u003c/a>, agreed: “The sweetness of the crab — I mean, you just can’t beat that.” Chang had come on the show to talk about his own restaurant’s contribution to the Bay Area Dungeness crab scene: Vietnamese-style butter-roasted crabs and peppercorn crabs, served with garlic noodles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923127,arts_13900855,arts_13909648","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Edward Wooley of \u003ca href=\"https://www.instagram.com/chefsmelly/?hl=en\">Chef Smelly’s\u003c/a> in Oakland, on the other hand, said he ate so much crab as a child that he no longer enjoys the taste. ““My mother went to an all-you-can-eat crab fest,” the chef recalled. “I just ate so much crab when I got home that I was done with crab.” That hasn’t prevented Wooley’s Oakland restaurant from becoming one of the most well known crab restaurants in the East Bay. The most popular dishes? Wooley’s garlic-butter crab with Creole lemon pepper sauce and his crab gumbo.\u003c/p>\n\u003cp>Despite Dungeness crab’s iconic status in the Bay Area food scene, the West Coast crab industry has faced its share of challenges in recent years. Climate change, dangerous weather conditions and competition from big business all impact the haul brought in by local fishermen. “We’ve seen the season just get postponed later and later each year,” Tsai added, noting that the commercial crab season didn’t start until Dec. 31 this past year — more than six weeks later than usual. He explained that these delays are usually caused by toxic domoic acid levels driven by climate change and warmer water, as well as difficult negotiations between fishermen and penny-pinching seafood distributors.\u003c/p>\n\u003cp>One local fisherman, Matt Juanes, called in to explain that the delays have been especially hard on his business. Here in the Bay Area, he said, it’s traditional to celebrate Thanksgiving and Christmas with Dungeness crab. But for the past few years the crab season has only just barely arrived in time for New Year’s.\u003c/p>\n\u003cfigure id=\"attachment_13924815\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg\" alt=\"A crab fisherman in a trucker hat smiles as he holds up a live Dungeness crab from the deck of his fishing boat.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For crab fisherman Matt Juanes, the Dungeness crab season delays of the past few years have been hard on his business. \u003ccite>(Azul Dahlstrom-Eckman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oh, it’s definitely very difficult for all of us,” Juanes said. “But we’re just trying to work together with nature and do the best we can.”\u003c/p>\n\u003cp>For Rivera, this year’s delay was especially frustrating. “Having a birthday in between Thanksgiving and Christmas, there usually was a guarantee that I would have crab there as my birthday cake,” she said. This was one of the first years that didn’t happen.\u003c/p>\n\u003cp>Rivera’s KQED essay series, \u003ca href=\"https://www.kqed.org/arts/tag/frisco-foodies\">Frisco Foodies\u003c/a>, uses nostalgic food memories as a way to explore all of the ways the Bay Area is changing — all of the traditions that are in danger of being lost.\u003c/p>\n\u003cp>“Like many San Francisco families, especially immigrant families, we’ve incorporated traditions like cioppino and Dungeness and all types of seafood dishes into our celebrations,” Rivera said. “And to not have that for Christmas is really just an indicator of things changing deeply across the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13900955\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg\" alt=\"Overhead view of a plate of garlic noodles and roast crab.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Chef Smelly’s legendary seafood plates, piled high with garlic noodles, shrimp and, of course, Dungeness crab. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924803/dungeness-crab-season-bay-area-kqed-forum-rocky-rivera","authors":["11530"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_1407","arts_10278","arts_11995","arts_4219","arts_4506"],"featImg":"arts_13924814","label":"source_arts_13924803"},"arts_13905208":{"type":"posts","id":"arts_13905208","meta":{"index":"posts_1591205157","site":"arts","id":"13905208","score":null,"sort":[1635290931000]},"guestAuthors":[],"slug":"a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy","title":"A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy","publishDate":1635290931,"format":"standard","headTitle":"A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” [aside postid='arts_13902470']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/1DaovaJgytE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/tcsdglJFT0M\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. [aside postid='arts_13812554']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” [aside postid=\"arts_13895462']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/239151243\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/xOrYbSM1ArI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.","status":"publish","parent":0,"modified":1705007564,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":49,"wordCount":2670},"headData":{"title":"A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED","description":"Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy","datePublished":"2021-10-26T16:28:51-07:00","dateModified":"2024-01-11T13:12:44-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902470","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tcsdglJFT0M'\n title='//www.youtube.com/embed/tcsdglJFT0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"postid=\"arts_13895462'"},"numeric":["postid=\"arts_13895462'"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"239151243"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xOrYbSM1ArI'\n title='//www.youtube.com/embed/xOrYbSM1ArI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy","authors":["11748"],"categories":["arts_1","arts_7862","arts_69"],"tags":["arts_10342","arts_10278","arts_2855","arts_3771","arts_6187","arts_831","arts_2907","arts_1803","arts_4219","arts_8924","arts_8682","arts_19347"],"featImg":"arts_13905238","label":"arts"},"arts_13897103":{"type":"posts","id":"arts_13897103","meta":{"index":"posts_1591205157","site":"arts","id":"13897103","score":null,"sort":[1620986418000]},"guestAuthors":[],"slug":"rightnowish-rockyrivera","title":"Rocky Rivera Restores Justice Across the Board","publishDate":1620986418,"format":"standard","headTitle":"Rocky Rivera Restores Justice Across the Board | KQED","labelTerm":{},"content":"\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Author, journalist, educator and lyricist Rocky Rivera tells us what Restorative Justice means to her. ","status":"publish","parent":0,"modified":1705008381,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1162},"headData":{"title":"Rocky Rivera Restores Justice Across the Board | KQED","description":"Author, journalist, educator and lyricist Rocky Rivera tells us what Restorative Justice means to her. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rocky Rivera Restores Justice Across the Board","datePublished":"2021-05-14T03:00:18-07:00","dateModified":"2024-01-11T13:26:21-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC3382469601.mp3?updated=1620939345","sticky":false,"WpOldSlug":"rocky-rivera-restores-justice-across-the-board","path":"/arts/13897103/rightnowish-rockyrivera","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897103/rightnowish-rockyrivera","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1118","arts_8416","arts_1143","arts_5718","arts_6764","arts_4219","arts_1146"],"featImg":"arts_13897104","label":"source_arts_13897103"},"arts_13894648":{"type":"posts","id":"arts_13894648","meta":{"index":"posts_1591205157","site":"arts","id":"13894648","score":null,"sort":[1616770819000]},"guestAuthors":[],"slug":"rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin","title":"Rapper and Activist Rocky Rivera Embraces Growth In Her First Book, ‘Snakeskin’","publishDate":1616770819,"format":"standard","headTitle":"Rapper and Activist Rocky Rivera Embraces Growth In Her First Book, ‘Snakeskin’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last year, Krishtine De Leon went to Alameda to honor her late mother, and when she left began a new journey of peeling back another layer of who she is.\u003c/p>\n\u003cp>Her husband, \u003ca href=\"https://www.npr.org/2017/05/20/529106586/bambu-my-music-is-here-to-push-people-to-organize\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Deocampo\u003c/a>—a.k.a. rapper Bambu—had just finished putting their daughter on a bike and saw snakeskin lying on the ground. He pointed it out to De Leon, who felt like the remains meant something but wasn’t sure what. Now, after over a year-long process of shedding her own skin, the Filipina American MC takes fans on a retrospective journey of resilience through her first book, \u003cem>Snakeskin\u003c/em>.\u003c/p>\n\u003cp>The 216-page book of personal essays, currently only available for purchase to her supporters on \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>, documents De Leon’s growth as the fierce MC most fans recognize as \u003ca href=\"https://www.rockyrivera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>.\u003c/p>\n\u003cp>She came up with the concept years ago—originally as a celebration of her tenth year as an independent artist. Through writing, she realized that it’s okay to outgrow older versions of yourself yet still be rooted in who you are—no b.s.—at your core. [aside postid='arts_13894449']\u003c/p>\n\u003cp>Before the birth of Rocky, De Leon was the editor-in-chief of \u003cem>Ruckus Magazine\u003c/em> and a music journalist with bylines in \u003cem>Rolling Stone\u003c/em>, \u003cem>XXL\u003c/em> and \u003cem>The Source\u003c/em>, interviewing top-shelf names like Wu Tang Clan, E-40 and Cassie. In 2018, she dropped her third album, \u003ca href=\"https://music.apple.com/us/album/rockys-revenge/1437848066\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rocky’s Revenge\u003c/em>\u003c/a>, an 11-track tape with bass-heavy slaps that shed light on social inequities and give off Bay Area energy. Beyond her lyricism, she’s involved in community work as a youth educator and community organizer in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[pullquote size='large' citation='Rocky Rivera']“We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal.”[/pullquote]\u003c/p>\n\u003cp>In a recent interview, De Leon explained how the title of the book came about after that fateful day in Alameda. For someone who’s spiritual, the dried-up carcass symbolized that it was time to step up as an adult, woman and artist—and to truly be herself unapologetically. “In order to do that, you have to shed your old skin,” she said. “You have to and it’s painful.”\u003c/p>\n\u003cp>Throughout \u003cem>Snakeskin\u003c/em>, she explores moments in her life that shaped the woman we now know. She asked herself questions like, “Why did I grow up right now? Why am I the first daughter of an immigrant family? Why am I the youngest daughter of an immigrant family? Why did I see all these things that happened?”\u003c/p>\n\u003cp>Each essay is written from a raw and introspective point of view with details sure to bring you back to 1990-something, when Keroppi everything was all we wanted. She dives into the intersectionality of being a person of color and a woman, growing up in San Francisco, a little bit of high school debauchery—all while exploring deeper themes like colonialism, feminism, power, privilege and how hip-hop originated from Black culture.\u003c/p>\n\u003cp>The sociopolitical messages seen in De Leon’s lyrics also shine between the lines in \u003cem>Snakeskin\u003c/em>. “When hip-hop went mainstream, it took on all the qualities of the oppressor. And for me, hip-hop was the medium, but it was not the message for me. The message for me is ethnic studies. And the message for me is whose stories do we tell? How do we own our own stories?”\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic began early last year, De Leon’s utilized Patreon as a way to connect with her fanbase and showcase works in progress. In doing this, she hopes to create a new paradigm to break old patterns that exploit artists.\u003c/p>\n\u003cp>“In order for me to legitimize my work, I had to be the one to do it. And I think that’s what a lot of us people of color and women of color have to do: we have to be the ones to legitimize our own shit by any means necessary,” she explained. “We’re not going to wait for a gatekeeper to say, ‘Oh, we have slots on our women of color lottery system, one out of 1,000 people.’ No, I’m not going to wait.”\u003c/p>\n\u003cp>The MC-turned-author has a ton planned for the upcoming year. Some exciting projects on the way include a coffee table book with photographer Been Milky, a print magazine by women of color for women of color and a guided journal or planner focused on reflection and looking within—rather than just filling up your calendar with more things to do. [aside postid='arts_13893757']\u003c/p>\n\u003cp>“I want to provide a platform for young writers and young artists—to not just follow in my footsteps—but take that torch and just go as far as they can with it,” she said. “The only way to create a pipeline for me is to be an example. Not only is our music sustainable, but it’s necessary. And it’s required for the kind of change that we want to see. Not just in music, but in culture overall. And as a culture organizer, I believe that culture is the only way that we can make change not policy, not presidents, but culture.”\u003c/p>\n\u003cp>De Leon will celebrate the \u003ca href=\"https://twitter.com/zentronix/status/1375112779762335746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">launch\u003c/a> of Snakeskin alongside journalist and historian Davey D Cook, \u003cem>Can’t Stop Won’t Stop \u003c/em>author Jeff Chang and Rob Kenner, author of \u003cem>The Marathon Don’t Stop: The Life and Times of Nipsey Hussle\u003c/em>. \u003ca href=\"https://www.twitch.tv/TrueSkool\" target=\"_blank\" rel=\"noopener noreferrer\">The Twitch book release party\u003c/a> will be on Saturday, March 27, and feature a very Bay Area line-up including Umami & Lady Fingaz, Chuy Gomez and DJ Roza.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Between being a mom, wife, daughter, MC, educator and community organizer, De Leon’s been through her handful of ups and downs—all of which have led to more growth and, for us, \u003cem>Snakeskin\u003c/em>. “You will evolve even if you don’t want things to change,” she reflected. “We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal.”\u003c/p>\n\n","blocks":[],"excerpt":"“We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal,” the rapper and author says.","status":"publish","parent":0,"modified":1705019279,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1078},"headData":{"title":"Rapper and Activist Rocky Rivera Embraces Growth In Her First Book, ‘Snakeskin’ | KQED","description":"“We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal,” the rapper and author says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rapper and Activist Rocky Rivera Embraces Growth In Her First Book, ‘Snakeskin’","datePublished":"2021-03-26T08:00:19-07:00","dateModified":"2024-01-11T16:27:59-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Amyra Soriano","templateType":"standard","featuredImageType":"standard","path":"/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, Krishtine De Leon went to Alameda to honor her late mother, and when she left began a new journey of peeling back another layer of who she is.\u003c/p>\n\u003cp>Her husband, \u003ca href=\"https://www.npr.org/2017/05/20/529106586/bambu-my-music-is-here-to-push-people-to-organize\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Deocampo\u003c/a>—a.k.a. rapper Bambu—had just finished putting their daughter on a bike and saw snakeskin lying on the ground. He pointed it out to De Leon, who felt like the remains meant something but wasn’t sure what. Now, after over a year-long process of shedding her own skin, the Filipina American MC takes fans on a retrospective journey of resilience through her first book, \u003cem>Snakeskin\u003c/em>.\u003c/p>\n\u003cp>The 216-page book of personal essays, currently only available for purchase to her supporters on \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>, documents De Leon’s growth as the fierce MC most fans recognize as \u003ca href=\"https://www.rockyrivera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>.\u003c/p>\n\u003cp>She came up with the concept years ago—originally as a celebration of her tenth year as an independent artist. Through writing, she realized that it’s okay to outgrow older versions of yourself yet still be rooted in who you are—no b.s.—at your core. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894449","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before the birth of Rocky, De Leon was the editor-in-chief of \u003cem>Ruckus Magazine\u003c/em> and a music journalist with bylines in \u003cem>Rolling Stone\u003c/em>, \u003cem>XXL\u003c/em> and \u003cem>The Source\u003c/em>, interviewing top-shelf names like Wu Tang Clan, E-40 and Cassie. In 2018, she dropped her third album, \u003ca href=\"https://music.apple.com/us/album/rockys-revenge/1437848066\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rocky’s Revenge\u003c/em>\u003c/a>, an 11-track tape with bass-heavy slaps that shed light on social inequities and give off Bay Area energy. Beyond her lyricism, she’s involved in community work as a youth educator and community organizer in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal.”","name":"pullquote","attributes":{"named":{"size":"large","citation":"Rocky Rivera","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a recent interview, De Leon explained how the title of the book came about after that fateful day in Alameda. For someone who’s spiritual, the dried-up carcass symbolized that it was time to step up as an adult, woman and artist—and to truly be herself unapologetically. “In order to do that, you have to shed your old skin,” she said. “You have to and it’s painful.”\u003c/p>\n\u003cp>Throughout \u003cem>Snakeskin\u003c/em>, she explores moments in her life that shaped the woman we now know. She asked herself questions like, “Why did I grow up right now? Why am I the first daughter of an immigrant family? Why am I the youngest daughter of an immigrant family? Why did I see all these things that happened?”\u003c/p>\n\u003cp>Each essay is written from a raw and introspective point of view with details sure to bring you back to 1990-something, when Keroppi everything was all we wanted. She dives into the intersectionality of being a person of color and a woman, growing up in San Francisco, a little bit of high school debauchery—all while exploring deeper themes like colonialism, feminism, power, privilege and how hip-hop originated from Black culture.\u003c/p>\n\u003cp>The sociopolitical messages seen in De Leon’s lyrics also shine between the lines in \u003cem>Snakeskin\u003c/em>. “When hip-hop went mainstream, it took on all the qualities of the oppressor. And for me, hip-hop was the medium, but it was not the message for me. The message for me is ethnic studies. And the message for me is whose stories do we tell? How do we own our own stories?”\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic began early last year, De Leon’s utilized Patreon as a way to connect with her fanbase and showcase works in progress. In doing this, she hopes to create a new paradigm to break old patterns that exploit artists.\u003c/p>\n\u003cp>“In order for me to legitimize my work, I had to be the one to do it. And I think that’s what a lot of us people of color and women of color have to do: we have to be the ones to legitimize our own shit by any means necessary,” she explained. “We’re not going to wait for a gatekeeper to say, ‘Oh, we have slots on our women of color lottery system, one out of 1,000 people.’ No, I’m not going to wait.”\u003c/p>\n\u003cp>The MC-turned-author has a ton planned for the upcoming year. Some exciting projects on the way include a coffee table book with photographer Been Milky, a print magazine by women of color for women of color and a guided journal or planner focused on reflection and looking within—rather than just filling up your calendar with more things to do. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to provide a platform for young writers and young artists—to not just follow in my footsteps—but take that torch and just go as far as they can with it,” she said. “The only way to create a pipeline for me is to be an example. Not only is our music sustainable, but it’s necessary. And it’s required for the kind of change that we want to see. Not just in music, but in culture overall. And as a culture organizer, I believe that culture is the only way that we can make change not policy, not presidents, but culture.”\u003c/p>\n\u003cp>De Leon will celebrate the \u003ca href=\"https://twitter.com/zentronix/status/1375112779762335746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">launch\u003c/a> of Snakeskin alongside journalist and historian Davey D Cook, \u003cem>Can’t Stop Won’t Stop \u003c/em>author Jeff Chang and Rob Kenner, author of \u003cem>The Marathon Don’t Stop: The Life and Times of Nipsey Hussle\u003c/em>. \u003ca href=\"https://www.twitch.tv/TrueSkool\" target=\"_blank\" rel=\"noopener noreferrer\">The Twitch book release party\u003c/a> will be on Saturday, March 27, and feature a very Bay Area line-up including Umami & Lady Fingaz, Chuy Gomez and DJ Roza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between being a mom, wife, daughter, MC, educator and community organizer, De Leon’s been through her handful of ups and downs—all of which have led to more growth and, for us, \u003cem>Snakeskin\u003c/em>. “You will evolve even if you don’t want things to change,” she reflected. “We have to acknowledge all of those stages of ourselves, no matter how shameful or hurtful, in order to heal.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin","authors":["byline_arts_13894648"],"categories":["arts_1"],"tags":["arts_10278","arts_4219"],"featImg":"arts_13894665","label":"arts"},"arts_13852293":{"type":"posts","id":"arts_13852293","meta":{"index":"posts_1591205157","site":"arts","id":"13852293","score":null,"sort":[1551823298000]},"guestAuthors":[],"slug":"sa-roc-alia-sharrief-rocky-rivera-join-forces-for-womens-empowerment-summit","title":"Sa-Roc, Alia Sharrief, Rocky Rivera Join Forces for Women's Empowerment Summit","publishDate":1551823298,"format":"image","headTitle":"Sa-Roc, Alia Sharrief, Rocky Rivera Join Forces for Women’s Empowerment Summit | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. [aside postID=\"arts_13078404\"]\u003c/p>\n\u003cp>Local MCs \u003ca href=\"https://aliasharrief.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alia Sharrief\u003c/a> and \u003ca href=\"https://www.msryannicole.com\" target=\"_blank\" rel=\"noopener\">Ryan Nicole \u003c/a>will join Sa-Roc on stage. Sharrief is an activist and founder of the \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">Hijabi Chronicles\u003c/a>, a platform that promotes Muslim women’s creativity. Ryan Nicole, a TEDx fellow and stage actress, is also a community organizer and brand consultant for grassroots organizations and small businesses. \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener\">DJs Umami\u003c/a> and \u003ca href=\"https://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a>, both prolific in the local nightlife scene, will spin as well. [aside postID=\"arts_12539759\"]\u003c/p>\n\u003cp>The panel portion of the Women’s Empowerment Summit features rapper, activist and former music journalist \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a> and poet, novelist and UC Berkeley professor \u003ca href=\"https://ayadeleon.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Aya de Leon\u003c/a>. They’ll be in conversation about women’s leadership and social issues affecting the Bay Area, with Sterling James from \u003ca href=\"https://kblx.com/sterling-james/\" target=\"_blank\" rel=\"noopener\">KBLX\u003c/a> as host.\u003c/p>\n\u003cp>The Women’s Empowerment Summit takes place on March 9 at the Uptown Night Club in Oakland. Details \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/rxTBeiCwzCo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The event features a panel and live performances from women activists, artists and entrepreneurs. ","status":"publish","parent":0,"modified":1705026517,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":244},"headData":{"title":"Sa-Roc, Alia Sharrief, Rocky Rivera Join Forces for Women's Empowerment Summit | KQED","description":"The event features a panel and live performances from women activists, artists and entrepreneurs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sa-Roc, Alia Sharrief, Rocky Rivera Join Forces for Women's Empowerment Summit","datePublished":"2019-03-05T14:01:38-08:00","dateModified":"2024-01-11T18:28:37-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13852293/sa-roc-alia-sharrief-rocky-rivera-join-forces-for-womens-empowerment-summit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13078404","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local MCs \u003ca href=\"https://aliasharrief.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alia Sharrief\u003c/a> and \u003ca href=\"https://www.msryannicole.com\" target=\"_blank\" rel=\"noopener\">Ryan Nicole \u003c/a>will join Sa-Roc on stage. Sharrief is an activist and founder of the \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">Hijabi Chronicles\u003c/a>, a platform that promotes Muslim women’s creativity. Ryan Nicole, a TEDx fellow and stage actress, is also a community organizer and brand consultant for grassroots organizations and small businesses. \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener\">DJs Umami\u003c/a> and \u003ca href=\"https://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a>, both prolific in the local nightlife scene, will spin as well. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12539759","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The panel portion of the Women’s Empowerment Summit features rapper, activist and former music journalist \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a> and poet, novelist and UC Berkeley professor \u003ca href=\"https://ayadeleon.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Aya de Leon\u003c/a>. They’ll be in conversation about women’s leadership and social issues affecting the Bay Area, with Sterling James from \u003ca href=\"https://kblx.com/sterling-james/\" target=\"_blank\" rel=\"noopener\">KBLX\u003c/a> as host.\u003c/p>\n\u003cp>The Women’s Empowerment Summit takes place on March 9 at the Uptown Night Club in Oakland. Details \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/rxTBeiCwzCo'\n title='//www.youtube.com/embed/rxTBeiCwzCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852293/sa-roc-alia-sharrief-rocky-rivera-join-forces-for-womens-empowerment-summit","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_6845","arts_831","arts_4219"],"featImg":"arts_12543361","label":"arts_140"},"arts_13831962":{"type":"posts","id":"arts_13831962","meta":{"index":"posts_1591205157","site":"arts","id":"13831962","score":null,"sort":[1526069338000]},"guestAuthors":[],"slug":"on-mommas","title":"On Mommas","publishDate":1526069338,"format":"standard","headTitle":"On Mommas | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“O\u003c/span>n mommas, I’m not lying.”\u003c/p>\n\u003cp>As a kid, those words were the purest thing you could say on the playground. It was the elementary school equivalent to placing your right hand on the Bible. It epitomized the art of telling the truth, and communicated the value you had for the person who brought you into the world, all in one statement: \u003cem>On mommas\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In my mind, that term was almost, if not equal to, swearing to God.\u003c/p>\n\u003cp>The only difference between my mother and the higher power was that I saw my mother every day. And the main thing they had in common was that neither the power of the Almighty nor the power of my mother could be completely understood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From an outside perspective, motherhood can be appreciated and admired, lifted and loved — and although it can be interpreted, it cannot be understood, no matter how hard we men try.\u003c/p>\n\u003cfigure id=\"attachment_13831968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/reginajackson-800x729.jpg\" alt=\"Regina Jackson and family.\" width=\"800\" height=\"729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-800x729.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-768x700.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-1020x929.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-960x875.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-240x219.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-375x342.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-520x474.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Jackson with students at UCLA. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> often question what it’s like to be a mother. Not just in the sense of bearing and birthing a child, because I’d never understand that. But what it means to “have your heart living outside of your body,” as one friend once told me; especially given the context of current societal circumstances.\u003c/p>\n\u003cp>I mean, as a father, I get a taste of it. But I don’t fully understand. After all, I didn’t carry this being in my body for months, only to have it pierce my flesh and enter in this world screaming for the resources — the food, the warmth, the love — that only I could provide.\u003c/p>\n\u003cp>I think about my mom, Dolores, and the beautiful woman she is. I think about the things she’s overcome, including cancer and lupus, and how she’s able to remain optimistic, hug her grandchildren, and hook up delicious meals made of fresh veggies from her garden. How, when I was a teen, she let me run the streets with my friends, while she watched the 10 o’clock news, nervous, just hoping my name wouldn’t be mentioned during the telecast.\u003c/p>\n\u003cp>Now, the news doesn’t wait until 10 o’clock, it’s readily sent to your phone with updates and notifications that ping or vibrate with disconcerting information every so often.\u003c/p>\n\u003cp>There’s tales of families being separated by immigration laws, and reports of constant cuts to education. You pile that on top of housing prices, the cost of gas, and groceries. And you multiply that by sexism in the workplace and unequal pay, and you’re left with a big question.\u003c/p>\n\u003cp>How is anyone able to be a mother in 2018?\u003c/p>\n\u003cfigure id=\"attachment_13831969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rockyrivera-800x450.jpg\" alt=\"Rocky Rivera, in the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera, in the studio. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started thinking about different mothers I know.\u003c/p>\n\u003cp>Folks like the dynamic educator, writer and emcee, Rocky Rivera, who’s already the mother of one awesome kid and, with her artist and activist husband, pregnant with another — and she remains active and creative, evidenced by photos of her in the studio and a recent featured on Ruby Ibarra’s song, “\u003ca href=\"https://www.youtube.com/watch?v=AUfNeCozJBw\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>,” empowering Filipina women.\u003c/p>\n\u003cp>I thought about Regina Jackson, mother of two, who’s probably worked with more kids in East Oakland over the past 25 years than anyone; and how she texted me earlier this week, spreading the word about \u003ca href=\"https://www.youtube.com/watch?v=2gC-LdWGrKg&\" target=\"_blank\" rel=\"noopener noreferrer\">her organization’s latest video\u003c/a>. Evidence of her ever-forward mentality.\u003c/p>\n\u003cp>And Leslie Moncada-Lewis, who’s an entrepreneur, married, mother of four, and keeps an immaculately curated, family-focused fashion page \u003ca href=\"https://www.instagram.com/thelewis_show/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; it features photos of her family dressed to a T.\u003c/p>\n\u003cp>There’s Gaila and Antionette, my friend’s mothers, and how they worked to protect a group of boys from a cruel world—while taking the brunt of the blows. And my sister, Erikka, and how she fell victim to the fast life, grew beyond that, and raised two amazing children.\u003c/p>\n\u003cp>And of course Tanara, my partner in raising a daughter, and how she combats systematic oppression daily, only to leave work and walk into an absence of understanding, on my behalf, of what she goes through as a woman. A Black woman. A Black woman who’s a mother in 2018.\u003c/p>\n\u003cp>As I thought of example after example, it only furthered my bewilderment.\u003c/p>\n\u003cfigure id=\"attachment_13831971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/lewis-800x686.jpg\" alt=\"Leslie Moncada-Lewis and family.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-520x446.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Moncada-Lewis and family. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ow do you manage to live without debilitating worry about your kids’ grades, your bank account, our healthcare system, global warming, cyberbullying, the long-term effects of vape pens, the lyrical content in music, mental health, the future of humankind, rapey celebrities, mass shootings, dumb tattoos, and the police?\u003c/p>\n\u003cp>I went as far as to send a handful of messages to some people who are mothers, simply asking, “What is it like to be a mother in 2018?”\u003c/p>\n\u003cp>Fittingly, the majority of them were too busy to respond.\u003c/p>\n\u003cp>Earlier this week, my mother and I were in her backyard garden, playing with my daughter. We discussed turning over her garden this upcoming weekend and planting some veggies. After developing a plan of action, which involved getting a tool from the library and a hose from Home Depot, I asked her about what it’s like to be a mother nowadays.\u003c/p>\n\u003cp>She said it’s no different than being a mom at any other time, there’s always something to worry about, as she picked up my daughter and continued to play with her.\u003c/p>\n\u003cp>I just watched in amazement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Motherhood can be appreciated and admired, lifted and loved — but never fully understood.","status":"publish","parent":0,"modified":1705027883,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":968},"headData":{"title":"On Mommas | KQED","description":"Motherhood can be appreciated and admired, lifted and loved — but never fully understood.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Mommas","datePublished":"2018-05-11T13:08:58-07:00","dateModified":"2024-01-11T18:51:23-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13831962/on-mommas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“O\u003c/span>n mommas, I’m not lying.”\u003c/p>\n\u003cp>As a kid, those words were the purest thing you could say on the playground. It was the elementary school equivalent to placing your right hand on the Bible. It epitomized the art of telling the truth, and communicated the value you had for the person who brought you into the world, all in one statement: \u003cem>On mommas\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In my mind, that term was almost, if not equal to, swearing to God.\u003c/p>\n\u003cp>The only difference between my mother and the higher power was that I saw my mother every day. And the main thing they had in common was that neither the power of the Almighty nor the power of my mother could be completely understood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From an outside perspective, motherhood can be appreciated and admired, lifted and loved — and although it can be interpreted, it cannot be understood, no matter how hard we men try.\u003c/p>\n\u003cfigure id=\"attachment_13831968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/reginajackson-800x729.jpg\" alt=\"Regina Jackson and family.\" width=\"800\" height=\"729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-800x729.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-768x700.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-1020x929.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-960x875.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-240x219.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-375x342.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson-520x474.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/reginajackson.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Jackson with students at UCLA. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> often question what it’s like to be a mother. Not just in the sense of bearing and birthing a child, because I’d never understand that. But what it means to “have your heart living outside of your body,” as one friend once told me; especially given the context of current societal circumstances.\u003c/p>\n\u003cp>I mean, as a father, I get a taste of it. But I don’t fully understand. After all, I didn’t carry this being in my body for months, only to have it pierce my flesh and enter in this world screaming for the resources — the food, the warmth, the love — that only I could provide.\u003c/p>\n\u003cp>I think about my mom, Dolores, and the beautiful woman she is. I think about the things she’s overcome, including cancer and lupus, and how she’s able to remain optimistic, hug her grandchildren, and hook up delicious meals made of fresh veggies from her garden. How, when I was a teen, she let me run the streets with my friends, while she watched the 10 o’clock news, nervous, just hoping my name wouldn’t be mentioned during the telecast.\u003c/p>\n\u003cp>Now, the news doesn’t wait until 10 o’clock, it’s readily sent to your phone with updates and notifications that ping or vibrate with disconcerting information every so often.\u003c/p>\n\u003cp>There’s tales of families being separated by immigration laws, and reports of constant cuts to education. You pile that on top of housing prices, the cost of gas, and groceries. And you multiply that by sexism in the workplace and unequal pay, and you’re left with a big question.\u003c/p>\n\u003cp>How is anyone able to be a mother in 2018?\u003c/p>\n\u003cfigure id=\"attachment_13831969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rockyrivera-800x450.jpg\" alt=\"Rocky Rivera, in the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rockyrivera-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera, in the studio. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started thinking about different mothers I know.\u003c/p>\n\u003cp>Folks like the dynamic educator, writer and emcee, Rocky Rivera, who’s already the mother of one awesome kid and, with her artist and activist husband, pregnant with another — and she remains active and creative, evidenced by photos of her in the studio and a recent featured on Ruby Ibarra’s song, “\u003ca href=\"https://www.youtube.com/watch?v=AUfNeCozJBw\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>,” empowering Filipina women.\u003c/p>\n\u003cp>I thought about Regina Jackson, mother of two, who’s probably worked with more kids in East Oakland over the past 25 years than anyone; and how she texted me earlier this week, spreading the word about \u003ca href=\"https://www.youtube.com/watch?v=2gC-LdWGrKg&\" target=\"_blank\" rel=\"noopener noreferrer\">her organization’s latest video\u003c/a>. Evidence of her ever-forward mentality.\u003c/p>\n\u003cp>And Leslie Moncada-Lewis, who’s an entrepreneur, married, mother of four, and keeps an immaculately curated, family-focused fashion page \u003ca href=\"https://www.instagram.com/thelewis_show/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; it features photos of her family dressed to a T.\u003c/p>\n\u003cp>There’s Gaila and Antionette, my friend’s mothers, and how they worked to protect a group of boys from a cruel world—while taking the brunt of the blows. And my sister, Erikka, and how she fell victim to the fast life, grew beyond that, and raised two amazing children.\u003c/p>\n\u003cp>And of course Tanara, my partner in raising a daughter, and how she combats systematic oppression daily, only to leave work and walk into an absence of understanding, on my behalf, of what she goes through as a woman. A Black woman. A Black woman who’s a mother in 2018.\u003c/p>\n\u003cp>As I thought of example after example, it only furthered my bewilderment.\u003c/p>\n\u003cfigure id=\"attachment_13831971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/lewis-800x686.jpg\" alt=\"Leslie Moncada-Lewis and family.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis-520x446.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lewis.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Moncada-Lewis and family. \u003ccite>(IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ow do you manage to live without debilitating worry about your kids’ grades, your bank account, our healthcare system, global warming, cyberbullying, the long-term effects of vape pens, the lyrical content in music, mental health, the future of humankind, rapey celebrities, mass shootings, dumb tattoos, and the police?\u003c/p>\n\u003cp>I went as far as to send a handful of messages to some people who are mothers, simply asking, “What is it like to be a mother in 2018?”\u003c/p>\n\u003cp>Fittingly, the majority of them were too busy to respond.\u003c/p>\n\u003cp>Earlier this week, my mother and I were in her backyard garden, playing with my daughter. We discussed turning over her garden this upcoming weekend and planting some veggies. After developing a plan of action, which involved getting a tool from the library and a hose from Home Depot, I asked her about what it’s like to be a mother nowadays.\u003c/p>\n\u003cp>She said it’s no different than being a mom at any other time, there’s always something to worry about, as she picked up my daughter and continued to play with her.\u003c/p>\n\u003cp>I just watched in amazement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831962/on-mommas","authors":["11491"],"categories":["arts_2303"],"tags":["arts_2767","arts_1118","arts_4813","arts_596","arts_4814","arts_4219"],"featImg":"arts_13831975","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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