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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the title track of Too Short’s 1990 album \u003ci>Short Dog’s In the House\u003c/i>, wedged between bars about globetrotting and cold mackin’, the pioneering Oakland MC says, “I used to be local ’til I signed with Jive / Too Short done went nationwide.”\u003c/p>\n\u003cp>After a decade that started with Short \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">slanging tapes out of his trunk\u003c/a> as an independent artist, this was Short breaking into the hip-hop’s golden age of the ’90s. \u003ci>Short Dog’s In the House\u003c/i> features notable songs like “Pimpology,” one of the first of many tracks to sample lines from \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-mack-filmed-in-oakland\">the movie \u003ci>The Mack\u003c/i>, filmed in Oakland\u003c/a>. “Nothing But a Word to Me,” with Ice Cube, marks an early collaboration between major artists from Northern and Southern California. And the song “Short But Funky” is both a thinly veiled diss to MC Hammer and Too Short’s mission statement as an artist.\u003c/p>\n\u003cp>The album’s biggest single, “The Ghetto,” found Short deviating from his player persona, dropping socially conscious rhymes over a classic Donny Hathaway interpolation. The album sold over a million units and influenced generations of hip-hop heads. It’s a classic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fw0uz88E2gI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s its illustrated cover art: a group of animated human-bodied dog-faced characters cold chilling in a parking lot. Cars that look like Mercedes-Benzes, Lamborghinis and Cadillacs are parked all around, as poodle and bulldog-like characters cut eyes, point fingers and posture like folks would at any social happening. This one is clearly a sideshow.\u003c/p>\n\u003cp>While this scene unfolds in the foreground, a larger canine figure in an Oakland jacket looms near the city’s skyline, like an overseeing oracle, here to tell the world about The Town. And at the bottom left corner of the album cover, in tiny lettering, there’s a signature from the artist: Curtis “Bozie” Wayne Riley Jr.\u003c/p>\n\u003cfigure id=\"attachment_13926255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, a sketch from Boze, typifying the sort of characters he’d often draw in high school in the Bay Area. At right, a recent portrait of Boze. \u003ccite>(Courtesy Boze Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The process of me doing the album cover, it started way before I ever met Short,” says Bozie, who now goes simply by Boze, on a recent video call. “For me, it started at The Art School.”\u003c/p>\n\u003cp>In the mid-to-late ’80s, Boze was a student at \u003ca href=\"https://www.facebook.com/groups/2234613913\" target=\"_blank\" rel=\"noopener\">The Arts Magnet School\u003c/a>, a.k.a. “The Art School,” a high school on the California College of The Arts campus. Boze, a multitalented kid from Deep East Oakland, attributes his skills to the tutelage of his artistic parents, the influence of his neighborhood, the lessons from his high school and his affinity for hip-hop.\u003c/p>\n\u003cp>At The Art School, he had an African-American instructor named Robert L. Caillier who taught college-level arts courses, didn’t take any mess and was a firm believer in students using the classroom to refine their individual voices. “We were given the green light to draw all the things that we love,” says Boze. “So we were drawing hip-hop characters.”\u003c/p>\n\u003cp>From 8th grade until 12th grade, Boze constantly practiced drawing donkey ropes, Kangol hats, Gazelle glasses, and Adidas with the fat strings. After graduation, Boze used his talents to freelance, illustrating projects for MC Ant, Tomahawk Records’ Indian Tone and a logo for East Bay rapper Spice 1.\u003c/p>\n\u003cfigure id=\"attachment_13926016\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-1268690-1219563443.jpg\" alt=\"Spice 1\" width=\"600\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443-160x157.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An early single by Spice 1, with a logo drawn by Boze. \u003ccite>(Jive Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money was slow, though, and Boze briefly considered turning to the streets. Then he got into airbrushing.\u003c/p>\n\u003cp>During that era, about three major hip-hop tours would come to town each year, and Boze would be ready. “I’d be in my grandmother’s garage airbrushing like 10-12 outfits, charging people $350 a piece,” says Boze, noting that white Guess or Levi’s jeans were a favorite. “My grandmother was getting mad because she’d see all these guys with 5.0’s, glasshouses, and K5s pulling up and coming to the house,” says Boze, imitating his grandmother’s concerned voice. “I’m in there airbrushing! I had an honest hustle.”\u003c/p>\n\u003cp>Along with visual art, Boze was a part of\u003ca href=\"https://www.discogs.com/artist/4904066-T-CAP-Productions\"> T-CAP Productions\u003c/a>’ group \u003ca href=\"https://www.discogs.com/artist/203244-Capital-Tax\" target=\"_blank\" rel=\"noopener\">Capital Tax\u003c/a>. He earned a name as a dancer, designed the logo for the crew and even did some musical production.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CAPITAL TAX- 2 TIMIN\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/skuAI7yFFJ0?start=1&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As his reputation and clientele in Deep East Oakland grew, Boze eventually made artwork for someone in Too Short’s crew. Coincidentally, Short had recorded a new album for Jive, and he needed artwork too. “They came to me,” says Boze. “Short was like, ‘I want you to do a sideshow scene, but I need it with dogs.’”\u003c/p>\n\u003cp>Short also suggested to Boze a few types of cars to draw, but told him to use his imagination with the rest. Boze is quick to mention that modern sideshows are different than the one depicted on the album cover, the way they used to be. “It was more like a car show. People brought out Falcons, Novas, Cougars, Mustangs. Trues and Vogues, Zapco boards. It was a chill situation,” says Boze. In the late 1980s, he adds, only a few people did donuts, police rarely came, and afterward, folks would hit Mexicali Rose or Denny’s.\u003c/p>\n\u003cp>[aside postID='arts_13923766']With years of preparation from art school under his belt, chronicling that era of the sideshow came easy; Boze says he knocked it out in two or three days. But the image that’s widely known — that’s the second drawing. The first one was rejected by Jive; the label needed certain specs for reproduction. “Short never gave me back the original one,” says Boze. “So either Short still has it, or someone at Jive does.”\u003c/p>\n\u003cp>The version that adorns the platinum-selling album, meanwhile, has been widely shared and impactful. Short has \u003ca href=\"https://youtu.be/sJXzYAeTk0U?t=118\" target=\"_blank\" rel=\"noopener\">gone on record\u003c/a> to mention the importance of the album cover, as have other major artists. Even Snoop Dogg seemed to have a fanboy moment when recently discussing the album art, and how it directly influenced the \u003ca href=\"https://en.wikipedia.org/wiki/Doggystyle\">cartoon-dog cover art\u003c/a> for his smash-hit album \u003cem>Doggystyle\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Snoop Dogg & Too Short Talk Music (April 07, 2020)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qnd3wBdXXDE?start=1020&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Boze tells me he’s talked to people about the \u003ci>Short Dog’s in the House\u003c/i> art all across the country: Virginia, Tennessee, Wisconsin, and even in Alabama, where he now resides. Years removed from the experience, now working as a curator of arts education for the \u003ca href=\"https://artistcommunities.org/directory/organizations/coleman-center-arts\" target=\"_blank\" rel=\"noopener\">Coleman Center of the Arts\u003c/a> in York, Alabama, Boze says he doesn’t often discuss the album — but when it does come up, people tell him how it made them feel. Not the music on the album, but the artwork itself.\u003c/p>\n\u003cp>A teenager at the time of the drawing, Boze says it’s wild to think the image could be likened to a hip-hop version of \u003ca href=\"https://www.mfah.org/exhibitions/sugar-shack#&gid=cc5054066ed84c259198418242e77992&pid=25074691\" target=\"_blank\" rel=\"noopener\">The Sugar Shack\u003c/a>, the dance-hall scene painted by Ernie Barnes, which was featured on the cover of Marvin Gaye’s \u003cem>I Want You\u003c/em> and shown the final credits of the show \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>While it’s debatable if the image is on that same cultural level, the numbers don’t lie. “Over a million people have seen this work, I’ve got the plaque to prove it,” says Boze with a laugh. “I’m a platinum artist.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Boze, a \"little homie from the hood,\" drew Too Short's album art — inspiring Snoop's 'Doggystyle' and creating an icon for The Town.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the title track of Too Short’s 1990 album \u003ci>Short Dog’s In the House\u003c/i>, wedged between bars about globetrotting and cold mackin’, the pioneering Oakland MC says, “I used to be local ’til I signed with Jive / Too Short done went nationwide.”\u003c/p>\n\u003cp>After a decade that started with Short \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">slanging tapes out of his trunk\u003c/a> as an independent artist, this was Short breaking into the hip-hop’s golden age of the ’90s. \u003ci>Short Dog’s In the House\u003c/i> features notable songs like “Pimpology,” one of the first of many tracks to sample lines from \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-mack-filmed-in-oakland\">the movie \u003ci>The Mack\u003c/i>, filmed in Oakland\u003c/a>. “Nothing But a Word to Me,” with Ice Cube, marks an early collaboration between major artists from Northern and Southern California. And the song “Short But Funky” is both a thinly veiled diss to MC Hammer and Too Short’s mission statement as an artist.\u003c/p>\n\u003cp>The album’s biggest single, “The Ghetto,” found Short deviating from his player persona, dropping socially conscious rhymes over a classic Donny Hathaway interpolation. The album sold over a million units and influenced generations of hip-hop heads. It’s a classic.\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/fw0uz88E2gI'\n title='//www.youtube.com/embed/fw0uz88E2gI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s its illustrated cover art: a group of animated human-bodied dog-faced characters cold chilling in a parking lot. Cars that look like Mercedes-Benzes, Lamborghinis and Cadillacs are parked all around, as poodle and bulldog-like characters cut eyes, point fingers and posture like folks would at any social happening. This one is clearly a sideshow.\u003c/p>\n\u003cp>While this scene unfolds in the foreground, a larger canine figure in an Oakland jacket looms near the city’s skyline, like an overseeing oracle, here to tell the world about The Town. And at the bottom left corner of the album cover, in tiny lettering, there’s a signature from the artist: Curtis “Bozie” Wayne Riley Jr.\u003c/p>\n\u003cfigure id=\"attachment_13926255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, a sketch from Boze, typifying the sort of characters he’d often draw in high school in the Bay Area. At right, a recent portrait of Boze. \u003ccite>(Courtesy Boze Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The process of me doing the album cover, it started way before I ever met Short,” says Bozie, who now goes simply by Boze, on a recent video call. “For me, it started at The Art School.”\u003c/p>\n\u003cp>In the mid-to-late ’80s, Boze was a student at \u003ca href=\"https://www.facebook.com/groups/2234613913\" target=\"_blank\" rel=\"noopener\">The Arts Magnet School\u003c/a>, a.k.a. “The Art School,” a high school on the California College of The Arts campus. Boze, a multitalented kid from Deep East Oakland, attributes his skills to the tutelage of his artistic parents, the influence of his neighborhood, the lessons from his high school and his affinity for hip-hop.\u003c/p>\n\u003cp>At The Art School, he had an African-American instructor named Robert L. Caillier who taught college-level arts courses, didn’t take any mess and was a firm believer in students using the classroom to refine their individual voices. “We were given the green light to draw all the things that we love,” says Boze. “So we were drawing hip-hop characters.”\u003c/p>\n\u003cp>From 8th grade until 12th grade, Boze constantly practiced drawing donkey ropes, Kangol hats, Gazelle glasses, and Adidas with the fat strings. After graduation, Boze used his talents to freelance, illustrating projects for MC Ant, Tomahawk Records’ Indian Tone and a logo for East Bay rapper Spice 1.\u003c/p>\n\u003cfigure id=\"attachment_13926016\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-1268690-1219563443.jpg\" alt=\"Spice 1\" width=\"600\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443-160x157.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An early single by Spice 1, with a logo drawn by Boze. \u003ccite>(Jive Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money was slow, though, and Boze briefly considered turning to the streets. Then he got into airbrushing.\u003c/p>\n\u003cp>During that era, about three major hip-hop tours would come to town each year, and Boze would be ready. “I’d be in my grandmother’s garage airbrushing like 10-12 outfits, charging people $350 a piece,” says Boze, noting that white Guess or Levi’s jeans were a favorite. “My grandmother was getting mad because she’d see all these guys with 5.0’s, glasshouses, and K5s pulling up and coming to the house,” says Boze, imitating his grandmother’s concerned voice. “I’m in there airbrushing! I had an honest hustle.”\u003c/p>\n\u003cp>Along with visual art, Boze was a part of\u003ca href=\"https://www.discogs.com/artist/4904066-T-CAP-Productions\"> T-CAP Productions\u003c/a>’ group \u003ca href=\"https://www.discogs.com/artist/203244-Capital-Tax\" target=\"_blank\" rel=\"noopener\">Capital Tax\u003c/a>. He earned a name as a dancer, designed the logo for the crew and even did some musical production.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CAPITAL TAX- 2 TIMIN\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/skuAI7yFFJ0?start=1&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As his reputation and clientele in Deep East Oakland grew, Boze eventually made artwork for someone in Too Short’s crew. Coincidentally, Short had recorded a new album for Jive, and he needed artwork too. “They came to me,” says Boze. “Short was like, ‘I want you to do a sideshow scene, but I need it with dogs.’”\u003c/p>\n\u003cp>Short also suggested to Boze a few types of cars to draw, but told him to use his imagination with the rest. Boze is quick to mention that modern sideshows are different than the one depicted on the album cover, the way they used to be. “It was more like a car show. People brought out Falcons, Novas, Cougars, Mustangs. Trues and Vogues, Zapco boards. It was a chill situation,” says Boze. In the late 1980s, he adds, only a few people did donuts, police rarely came, and afterward, folks would hit Mexicali Rose or Denny’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With years of preparation from art school under his belt, chronicling that era of the sideshow came easy; Boze says he knocked it out in two or three days. But the image that’s widely known — that’s the second drawing. The first one was rejected by Jive; the label needed certain specs for reproduction. “Short never gave me back the original one,” says Boze. “So either Short still has it, or someone at Jive does.”\u003c/p>\n\u003cp>The version that adorns the platinum-selling album, meanwhile, has been widely shared and impactful. Short has \u003ca href=\"https://youtu.be/sJXzYAeTk0U?t=118\" target=\"_blank\" rel=\"noopener\">gone on record\u003c/a> to mention the importance of the album cover, as have other major artists. Even Snoop Dogg seemed to have a fanboy moment when recently discussing the album art, and how it directly influenced the \u003ca href=\"https://en.wikipedia.org/wiki/Doggystyle\">cartoon-dog cover art\u003c/a> for his smash-hit album \u003cem>Doggystyle\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Snoop Dogg & Too Short Talk Music (April 07, 2020)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qnd3wBdXXDE?start=1020&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Boze tells me he’s talked to people about the \u003ci>Short Dog’s in the House\u003c/i> art all across the country: Virginia, Tennessee, Wisconsin, and even in Alabama, where he now resides. Years removed from the experience, now working as a curator of arts education for the \u003ca href=\"https://artistcommunities.org/directory/organizations/coleman-center-arts\" target=\"_blank\" rel=\"noopener\">Coleman Center of the Arts\u003c/a> in York, Alabama, Boze says he doesn’t often discuss the album — but when it does come up, people tell him how it made them feel. Not the music on the album, but the artwork itself.\u003c/p>\n\u003cp>A teenager at the time of the drawing, Boze says it’s wild to think the image could be likened to a hip-hop version of \u003ca href=\"https://www.mfah.org/exhibitions/sugar-shack#&gid=cc5054066ed84c259198418242e77992&pid=25074691\" target=\"_blank\" rel=\"noopener\">The Sugar Shack\u003c/a>, the dance-hall scene painted by Ernie Barnes, which was featured on the cover of Marvin Gaye’s \u003cem>I Want You\u003c/em> and shown the final credits of the show \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>While it’s debatable if the image is on that same cultural level, the numbers don’t lie. “Over a million people have seen this work, I’ve got the plaque to prove it,” says Boze with a laugh. “I’m a platinum artist.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Too $hort and Tower of Power Kick Off Stern Grove’s 85th Season",
"headTitle": "Too $hort and Tower of Power Kick Off Stern Grove’s 85th Season | KQED",
"content": "\u003cp>Just under 10,000 music lovers gathered at Sigmund Stern Recreation Grove in San Francisco on Sunday, June 12, for the triumphant return of \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>. The opening day of the 85th season not only celebrated the kick-off of the admission-free Bay Area concert series, but marked the first time the meadow allowed in-person audiences since a water main rupture caused \u003ca href=\"https://www.kqed.org/arts/13901869/stern-grove-finale-with-too-hort-tower-of-power-canceled-due-to-flooding\" target=\"_blank\" rel=\"noopener noreferrer\">extensive damage\u003c/a> in August 2021.\u003c/p>\n\u003cp>The season opening featured a double bill with two East Bay legends: R&B and funk band Tower of Power and rapper Too $hort. (They were supposed to close out the 2021 Stern Grove season, but the show was postponed because of the flood.) Longtime fan Lisa Bazurto has attended several Stern Grove concerts over the years and was excited to see the festival pick up right where it left off. Bazurto was one of the thousands who could be spotted dancing and enjoying live music in the park.\u003c/p>\n\u003cp>“I came out here to celebrate life again and get moving,” Bazurto said. “I had tickets for the last year that got canceled, so I’m happy to be here again for the reopening.”\u003c/p>\n\u003cfigure id=\"attachment_13914718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond live music, the festival is a San Francisco cultural staple. On Sunday, the proof was evident in the laid-back atmosphere and diverse crowds at the festival grounds.\u003c/p>\n\u003cp>“It’s true to who we are… it’s like, authentic. It represents the Bay. You can look at the people and see that this is true Bay Area love,” said San Francisco resident Ty Berry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Berry attended the festival with a group of mothers she met at her child’s school. She said obtaining the free tickets was competitive.\u003c/p>\n\u003cp>“My homegirl was like, ‘You have to be at the computer at 2.’ And I was there at like 1:59, and I still had to refresh a couple of times, but I got two tickets,” Berry said.\u003c/p>\n\u003cp>Raylene Gorum, who attended Stern Grove Festival with friend Danelle James, said it’s refreshing to attend a festival where music is the focus.\u003c/p>\n\u003cp>“So much of the music experience has been commoditized,” Gorum said. “You have to buy everything from the venue. We donated and [the donation box] says ‘music for all,’ and it truly is. Maybe people, because it’s free, get introduced to new musicians, and that’s the kind of priceless experience that Stern Grove and the free ticket offers.”\u003c/p>\n\u003cfigure id=\"attachment_13914715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SJ Shortkut performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez-.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez-.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez--768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed welcomes Stern Grove Festival attendees on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival%E2%80%99s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed cuts commemorative ribbon celebrating Stern Grove Festival’s 85th annual concert season on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed gives a brief speech to commemorate the grand reopening of Sigmund Stern Recreation Grove on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-%E2%80%9CI-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-..jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-.-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Bazurto (Right) and friends dance at at Stern Grove Festival on Sunday, June 12, 2022. “I came out here to celebrate life again and get moving, Bazurto said. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13914693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danelle James (left) and Raylene Gorum attend Stern Grove Festival on Sunday, June 12, 2022. The two friends couldn’t wait for the 2022 concert series to kick off. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-%E2%80%9CGreat-artists-great-vibes-and-it%E2%80%99s-free.%E2%80%9D-Lacey-said.-0A0A.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amir Lacey (left) and Dina Kong at Stern Grove Festival on Sunday, June 12, 2022. The pair enjoy the fresh air and scenery Stern Grove provides. “Great artists, great vibes, and it’s free.” Lacey said. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022-.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022-.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022--768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allie Williams (right) and dog Nala at at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> continues every Sunday through Aug. 7 with Toro y Moi, Liz Phair and more. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A free concert with the two legendary acts drew thousands of fans, including Mayor London Breed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just under 10,000 music lovers gathered at Sigmund Stern Recreation Grove in San Francisco on Sunday, June 12, for the triumphant return of \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>. The opening day of the 85th season not only celebrated the kick-off of the admission-free Bay Area concert series, but marked the first time the meadow allowed in-person audiences since a water main rupture caused \u003ca href=\"https://www.kqed.org/arts/13901869/stern-grove-finale-with-too-hort-tower-of-power-canceled-due-to-flooding\" target=\"_blank\" rel=\"noopener noreferrer\">extensive damage\u003c/a> in August 2021.\u003c/p>\n\u003cp>The season opening featured a double bill with two East Bay legends: R&B and funk band Tower of Power and rapper Too $hort. (They were supposed to close out the 2021 Stern Grove season, but the show was postponed because of the flood.) Longtime fan Lisa Bazurto has attended several Stern Grove concerts over the years and was excited to see the festival pick up right where it left off. Bazurto was one of the thousands who could be spotted dancing and enjoying live music in the park.\u003c/p>\n\u003cp>“I came out here to celebrate life again and get moving,” Bazurto said. “I had tickets for the last year that got canceled, so I’m happy to be here again for the reopening.”\u003c/p>\n\u003cfigure id=\"attachment_13914718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond live music, the festival is a San Francisco cultural staple. On Sunday, the proof was evident in the laid-back atmosphere and diverse crowds at the festival grounds.\u003c/p>\n\u003cp>“It’s true to who we are… it’s like, authentic. It represents the Bay. You can look at the people and see that this is true Bay Area love,” said San Francisco resident Ty Berry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Berry attended the festival with a group of mothers she met at her child’s school. She said obtaining the free tickets was competitive.\u003c/p>\n\u003cp>“My homegirl was like, ‘You have to be at the computer at 2.’ And I was there at like 1:59, and I still had to refresh a couple of times, but I got two tickets,” Berry said.\u003c/p>\n\u003cp>Raylene Gorum, who attended Stern Grove Festival with friend Danelle James, said it’s refreshing to attend a festival where music is the focus.\u003c/p>\n\u003cp>“So much of the music experience has been commoditized,” Gorum said. “You have to buy everything from the venue. We donated and [the donation box] says ‘music for all,’ and it truly is. Maybe people, because it’s free, get introduced to new musicians, and that’s the kind of priceless experience that Stern Grove and the free ticket offers.”\u003c/p>\n\u003cfigure id=\"attachment_13914715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Tower-of-Power-perform-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power perform at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez006-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez002-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez007-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez005-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez004-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SJ-Shortkut-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SJ Shortkut performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Too-hort-performs-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez003-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort performs at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez-.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez-.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-welcomes-Stern-Grove-Festival-attendees-on-Sunday-June-12-2022.-Estefany-Gonzalez--768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed welcomes Stern Grove Festival attendees on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival%E2%80%99s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-cuts-commemorative-ribbon-celebrating-Stern-Grove-Festival’s-85th-annual-concert-season-on-Sunday-June-12-2022.-Estefany-Gonzalez-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed cuts commemorative ribbon celebrating Stern Grove Festival’s 85th annual concert season on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/San-Francisco-Mayor-London-Breed-gives-a-brief-speech-to-commemorate-the-grand-reopening-of-Sigmund-Stern-Recreation-Grove-on-Sunday-June-12-2022.-Estefany-Gonzalez001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor London Breed gives a brief speech to commemorate the grand reopening of Sigmund Stern Recreation Grove on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-%E2%80%9CI-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-..jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Lisa-Bazurto-Right-and-friends-dance-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-“I-came-out-here-to-celebrate-life-again-and-get-moving-22-Bazurto-said.-.-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Bazurto (Right) and friends dance at at Stern Grove Festival on Sunday, June 12, 2022. “I came out here to celebrate life again and get moving, Bazurto said. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13914693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Danelle-James-left-and-Raylene-Gorum-attend-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-two-friends-couldnt-wait-for-the-2022-concert-series-to-kick-off-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danelle James (left) and Raylene Gorum attend Stern Grove Festival on Sunday, June 12, 2022. The two friends couldn’t wait for the 2022 concert series to kick off. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-%E2%80%9CGreat-artists-great-vibes-and-it%E2%80%99s-free.%E2%80%9D-Lacey-said.-0A0A.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Amir-Lacey-left-and-Dina-Kong-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-The-pair-enjoy-the-fresh-air-and-scenery-Stern-Grove-provides.-“Great-artists-great-vibes-and-it’s-free.”-Lacey-said.-0A0A-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amir Lacey (left) and Dina Kong at Stern Grove Festival on Sunday, June 12, 2022. The pair enjoy the fresh air and scenery Stern Grove provides. “Great artists, great vibes, and it’s free.” Lacey said. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022-.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022-.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Allie-Williams-right-and-her-dog-Nala-at-at-Stern-Grove-Festival-on-Sunday-June-12-2022--768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allie Williams (right) and dog Nala at at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> continues every Sunday through Aug. 7 with Toro y Moi, Liz Phair and more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "remembering-traxamillion-whose-beats-defined-the-bay-area-sound",
"title": "Remembering Traxamillion, Whose Beats Defined the Bay Area Sound",
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"headTitle": "Remembering Traxamillion, Whose Beats Defined the Bay Area Sound | KQED",
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"content": "\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\n\u003cp>https://youtu.be/eumCos1fh5Y\u003c/p>\n\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>[pullquote size='large' citation='Keak Da Sneak']“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement.”[/pullquote]\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \u003c/p>\n\u003cp>https://youtu.be/w7zd6fVCORE\u003c/p>\n\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \u003c/p>\n\u003cp>https://youtu.be/h4d7UwaNrIQ\u003c/p>\n\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>[pullquote size='large' citation='Mistah F.A.B.']“I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region.”[/pullquote]\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\u003c/p>\n\u003cp>https://youtu.be/rsMhenbNtjE\u003c/p>\n\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Too $hort, Mistah F.A.B., Keak Da Sneak and more reflect on the late producer’s lasting legacy, from hyphy and beyond. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eumCos1fh5Y'\n title='//www.youtube.com/embed/eumCos1fh5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w7zd6fVCORE'\n title='//www.youtube.com/embed/w7zd6fVCORE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h4d7UwaNrIQ'\n title='//www.youtube.com/embed/h4d7UwaNrIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bPbgNHDpgAY'\n title='//www.youtube.com/embed/bPbgNHDpgAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rsMhenbNtjE'\n title='//www.youtube.com/embed/rsMhenbNtjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture",
"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. [aside postid='arts_13890048']\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2198604807\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture | KQED",
"description": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"headline": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint",
"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"headTitle": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\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>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\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\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\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\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\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>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\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\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\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\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"soldout": {
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