eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, Stones Throw, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus My Vinyl Weighs a Ton still goes hard.
Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (Needle to the Groove Records, Dad Bod Rap Pod) has been edited for length and clarity.
David Ma: What was your musical experience growing up in San Jose?
Peanut Butter Wolf: My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, The Sound of Music, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when Saturday Night Fever came out, I was hooked on that sound.
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My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did.
When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?
It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we really liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well.
Movies like Breakin’, Beat Street, and Wild Style were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like Magic Number Video with Isaac Stevenson and Night Flight, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of Graffiti Rock came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).
What was your main mode for discovering music in a pre-internet era?
In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings.
Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.
This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound.
Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?
I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”
Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?
Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.
There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.
Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about.
Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the Bass Creator song on a compilation I did. But Jonathan is super prolific. He has hundreds and hundreds of songs.
Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.
So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze.
We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.
Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide.
The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?
So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.
San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?
Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence.
Did you ever hear that Raised By Seuss reissue from a few years ago? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly.
Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For one of the songs I did with them, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”
How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.
People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the Criminal Minded album, and even Eric B. & Rakim’s Paid In Full, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle.
I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released that tape, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it.
One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?
Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.
Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.
“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch.
Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger.
It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.
D-Styles was also part of the group Third Sight when they were active here in San Jose. What do you remember about them when they dropped?
I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records.
Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.
I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record Peanut Butter Breaks and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed.
Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw.
I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP Step On Our Egos, then later on My Vinyl Weighs A Ton along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.
We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?
I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.
So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “You Can’t Swing This,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.
Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?
We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on In Living Color, Rap City, Yo! MTV Raps and The Arsenio Hall Show, get written up in The Source,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called Dance Music Report, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s In Control by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging.
There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma also had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.
What do you know about Charizma’s group, II Def II Touch, before you guys linked?
I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think.
What was the recording process like? Did you guys have similar taste in other artists?
Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.
I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.
In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.
You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.
In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried Ultimate Breaks & Beats, and that was a huge deal. But yeah, overall, Star Records was the best.
Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked?
I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.
Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.
In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?
San Jose was not a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.
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KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13956683":{"type":"posts","id":"arts_13956683","meta":{"index":"posts_1591205157","site":"arts","id":"13956683","found":true},"guestAuthors":[],"slug":"late-night-filipino-food-24-hour-cafe-colma-lucky-chances","title":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","publishDate":1714084178,"format":"aside","headTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955884,arts_13956218,arts_13953224']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","status":"publish","parent":0,"modified":1714084560,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":999},"headData":{"title":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino | KQED","description":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","ogTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","ogDescription":"","ogImgId":"","twTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","twDescription":"","twImgId":"","socialTitle":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","datePublished":"2024-04-25T22:29:38.000Z","dateModified":"2024-04-25T22:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13956683","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955884,arts_13956218,arts_13953224","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","authors":["11743","11907"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_14183","arts_1297","arts_8805","arts_21928"],"featImg":"arts_13956689","label":"source_arts_13956683"},"arts_13956128":{"type":"posts","id":"arts_13956128","meta":{"index":"posts_1591205157","site":"arts","id":"13956128","found":true},"guestAuthors":[],"slug":"best-mysteries-and-thriller-novels-spring-2024","title":"5 New Mysteries and Thrillers for Your Nightstand This Spring","publishDate":1713390986,"format":"standard","headTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13956050']As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>[aside postid='arts_13955903']Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>[aside postid='arts_13955214']Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>[aside postid='arts_13955156']Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","status":"publish","parent":0,"modified":1713390986,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1583},"headData":{"title":"Best New Mystery and Thriller Novels for Spring 2024 | KQED","description":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","ogTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","ogDescription":"","ogImgId":"","twTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","twDescription":"","twImgId":"","socialTitle":"Best New Mystery and Thriller Novels for Spring 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 New Mysteries and Thrillers for Your Nightstand This Spring","datePublished":"2024-04-17T21:56:26.000Z","dateModified":"2024-04-17T21:56:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bethanne Patrick","nprImageAgency":"NPR","nprStoryId":"1239716585","nprApiLink":"http://api.npr.org/query?id=1239716585&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/17/1239716585/5-new-mysteries-and-thrillers-spring-2024-reading-list-recommendations?ft=nprml&f=1239716585","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Apr 2024 11:29:00 -0400","nprStoryDate":"Wed, 17 Apr 2024 10:49:00 -0400","nprLastModifiedDate":"Wed, 17 Apr 2024 11:29:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956050","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955214","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955156","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","authors":["byline_arts_13956128"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5221","arts_769","arts_585","arts_11718"],"affiliates":["arts_137"],"featImg":"arts_13956129","label":"arts_140"},"arts_13956326":{"type":"posts","id":"arts_13956326","meta":{"index":"posts_1591205157","site":"arts","id":"13956326","found":true},"guestAuthors":[],"slug":"tru-gourmet-dim-sum-farmers-market-oakland","title":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","publishDate":1713884513,"format":"standard","headTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","status":"publish","parent":0,"modified":1713824467,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1561},"headData":{"title":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets | KQED","description":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","ogTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","ogDescription":"","ogImgId":"","twTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","twDescription":"","twImgId":"","socialTitle":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","datePublished":"2024-04-23T15:01:53.000Z","dateModified":"2024-04-22T22:21:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Nadege Mulamba","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","authors":["byline_arts_13956326"],"categories":["arts_1","arts_12276"],"tags":["arts_21727","arts_22099","arts_10278","arts_1297","arts_1785","arts_1143","arts_4533"],"featImg":"arts_13956333","label":"source_arts_13956326"},"arts_13956676":{"type":"posts","id":"arts_13956676","meta":{"index":"posts_1591205157","site":"arts","id":"13956676","found":true},"guestAuthors":[],"slug":"baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","title":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","publishDate":1714081090,"format":"standard","headTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>[aside postid='arts_13955549']He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eafm1gB6SCM\u003c/p>\n\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>[aside postid='arts_13954225']But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>[aside postid='arts_13954702']This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>[aside postid='arts_13953601']But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>[aside postid='arts_13953497']When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n","blocks":[],"excerpt":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","status":"publish","parent":0,"modified":1714081090,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1560},"headData":{"title":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ | KQED","description":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","ogTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","ogDescription":"","ogImgId":"","twTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","twDescription":"","twImgId":"","socialTitle":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","datePublished":"2024-04-25T21:38:10.000Z","dateModified":"2024-04-25T21:38:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"1247130712","nprHtmlLink":"https://www.npr.org/2024/04/25/1247130712/baby-reindeer-review-netflix","nprRetrievedStory":"1","nprPubDate":"2024-04-25T11:32:00-04:00","nprStoryDate":"2024-04-25T11:32:00-04:00","nprLastModifiedDate":"2024-04-25T11:32:00-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\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/eafm1gB6SCM'\n title='//www.youtube.com/embed/eafm1gB6SCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953601","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","authors":["92"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3226","arts_3324","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13956677","label":"arts_137"},"arts_13956017":{"type":"posts","id":"arts_13956017","meta":{"index":"posts_1591205157","site":"arts","id":"13956017","found":true},"guestAuthors":[],"slug":"poc-food-festival-san-francisco-berkeley","title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","publishDate":1714149075,"format":"standard","headTitle":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","labelTerm":{},"content":"\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a pair of young AAPI entrepreneurs while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13954899,arts_13956178,arts_13929494']\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","status":"publish","parent":0,"modified":1714411377,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":967},"headData":{"title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","description":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","datePublished":"2024-04-26T16:31:15.000Z","dateModified":"2024-04-29T17:22:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956017","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956017/poc-food-festival-san-francisco-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a pair of young AAPI entrepreneurs while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954899,arts_13956178,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956017/poc-food-festival-san-francisco-berkeley","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_2438","arts_4672","arts_1270","arts_21727","arts_10278","arts_22068","arts_2855","arts_1297","arts_1720","arts_14985","arts_21682","arts_1146","arts_585"],"featImg":"arts_13956601","label":"source_arts_13956017"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","found":true},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714002413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-24T23:46:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13956615":{"type":"posts","id":"arts_13956615","meta":{"index":"posts_1591205157","site":"arts","id":"13956615","found":true},"guestAuthors":[],"slug":"east-bay-street-photographers-want-you-to-take-notice","title":"East Bay Street Photographers Want You to Take ‘Notice’","publishDate":1714072236,"format":"standard","headTitle":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demandre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","status":"publish","parent":0,"modified":1714151007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":530},"headData":{"title":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","description":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"East Bay Street Photographers Want You to Take ‘Notice’","datePublished":"2024-04-25T19:10:36.000Z","dateModified":"2024-04-26T17:03:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956615","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demandre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_820","arts_11374","arts_8167","arts_10278","arts_1143","arts_822","arts_585"],"featImg":"arts_13956621","label":"arts_140"},"arts_13956032":{"type":"posts","id":"arts_13956032","meta":{"index":"posts_1591205157","site":"arts","id":"13956032","found":true},"guestAuthors":[],"slug":"tiktok-octopus-terrance-two-spot-california-weird-pets","title":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","publishDate":1713285307,"format":"standard","headTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The one thing 9-year-old Cal Clifford wanted more than anything since he was a toddler was a pet octopus.\u003c/p>\n\u003cp>The boy’s family in rural Edmond, Oklahoma, humored him with toy versions of an eight-legged mollusk, but as Cal got older it became clear that only the real thing would do.\u003c/p>\n\u003cp>[aside postid='arts_13951961']The child’s father, 36-year-old dentist Cameron Clifford, researched the possibility with a local aquarium store and before long Terrance the California two-spot octopus, also known as a bimac, was living in a watery enclosure at the family home southwest of Oklahoma City.\u003c/p>\n\u003cp>“We really like to encourage our children’s interests,” said the older Clifford. “It’s magical to see a kid embrace their dreams and bring them to fruition. Cal has been infatuated with the natural world and with marine biology since he was very little.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.tiktok.com/@doctoktopus\">popular TikTok saga\u003c/a> was launched with the father narrating the tale of Terrance the cephalopod, using a faux British accent generated by the social media app. Eventually, hundreds of thousands of people were following.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7347009867028270382\" data-video-id=\"7347009867028270382\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AW SHUCKS. \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"saltwater\" href=\"https://www.tiktok.com/tag/saltwater?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwater\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"♬ Reggae Relaxante Base - Dance Comercial Music\" href=\"https://www.tiktok.com/music/Reggae-Relaxante-Base-7146231087398668290?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Reggae Relaxante Base – Dance Comercial Music\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Within weeks, the tale took a surprise turn when it was learned Terrance was actually a female as she laid some 50 eggs that the family initially assumed were unfertilized. Several weeks after that, teeny near-transparent octopus babies began hatching and were given names like Rocket Larry, Squid Cudi, Swim Shady, Jay-Sea and Sea-Yoncé.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7353825745661250862\" data-video-id=\"7353825745661250862\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AN OCTOPOSSE \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"octomom\" href=\"https://www.tiktok.com/tag/octomom?refer=embed\" target=\"_blank\" rel=\"noopener\">#octomom\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7353825857968540462?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Cal had burst into tears at the family dinner table when his father first announced that the local aquarium store had told him adopting an octopus would be possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Father and son together researched what was needed, deciding on a saltwater tank and water cycling system and ensuring they would be able to source food for the soft-bodied sea creature.\u003c/p>\n\u003cp>The family’s younger son Lyle and mom Kari also joined the project in their own ways. A family friend who is a reptile scientist has provided support and advice.\u003c/p>\n\u003cp>While female octopuses usually die soon after laying their eggs, Clifford said Terrance remains alive four months later.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7355098970932153646\" data-video-id=\"7355098970932153646\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> FB Marketplace IYKYK \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7355099371962583851?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Clifford said the family has gained much from the experience.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“Aside from the physical, financial and emotional requirements of owning a species such as a bimac, you will learn a lot about yourself in the process,” the Arizona-born Clifford told TikTok followers in his app-generated accent. “There’s always some valve or seal that’s not completely closed, and your storm resistant carpet isn’t rated for gallons and gallons of seawater. You’ll learn that seawater and electricity don’t always get along.”\u003c/p>\n\u003cp>“You will learn new things and meet incredible people and will learn that wildlife is magnificent,” he added. “But most of all, you’ll learn to love a not-so-tiny octopus like Terrance.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7356635947531849002\" data-video-id=\"7356635947531849002\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> THANK YOU OCTO-NATION 🐙 ❤️ \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ Elevator Music (Music Background) - Music Background & Easy Listening Background Music & Haruto Nakamori\" href=\"https://www.tiktok.com/music/Elevator-Music-Music-Background-6841973391990212610?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Elevator Music (Music Background) – Music Background & Easy Listening Background Music & Haruto Nakamori\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>[tiktok]\u003c/p>\n\n","blocks":[],"excerpt":"A well-intentioned dad bought his son an octopus. Things got wildly out of hand once she started laying eggs...","status":"publish","parent":0,"modified":1713285307,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":604},"headData":{"title":"Terrance, the Californian Two-Spot Octopus: A TikTok Saga | KQED","description":"A well-intentioned dad bought his son an octopus. Things got wildly out of hand once she started laying eggs...","ogTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","ogDescription":"","ogImgId":"","twTitle":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","twDescription":"","twImgId":"","socialTitle":"Terrance, the Californian Two-Spot Octopus: A TikTok Saga%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Californian Two-Spot Octopus Named Terrance Is a TikTok Sensation","datePublished":"2024-04-16T16:35:07.000Z","dateModified":"2024-04-16T16:35:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Anita Snow, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956032/tiktok-octopus-terrance-two-spot-california-weird-pets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The one thing 9-year-old Cal Clifford wanted more than anything since he was a toddler was a pet octopus.\u003c/p>\n\u003cp>The boy’s family in rural Edmond, Oklahoma, humored him with toy versions of an eight-legged mollusk, but as Cal got older it became clear that only the real thing would do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951961","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The child’s father, 36-year-old dentist Cameron Clifford, researched the possibility with a local aquarium store and before long Terrance the California two-spot octopus, also known as a bimac, was living in a watery enclosure at the family home southwest of Oklahoma City.\u003c/p>\n\u003cp>“We really like to encourage our children’s interests,” said the older Clifford. “It’s magical to see a kid embrace their dreams and bring them to fruition. Cal has been infatuated with the natural world and with marine biology since he was very little.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.tiktok.com/@doctoktopus\">popular TikTok saga\u003c/a> was launched with the father narrating the tale of Terrance the cephalopod, using a faux British accent generated by the social media app. Eventually, hundreds of thousands of people were following.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7347009867028270382\" data-video-id=\"7347009867028270382\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AW SHUCKS. \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"saltwater\" href=\"https://www.tiktok.com/tag/saltwater?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwater\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"♬ Reggae Relaxante Base - Dance Comercial Music\" href=\"https://www.tiktok.com/music/Reggae-Relaxante-Base-7146231087398668290?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Reggae Relaxante Base – Dance Comercial Music\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within weeks, the tale took a surprise turn when it was learned Terrance was actually a female as she laid some 50 eggs that the family initially assumed were unfertilized. Several weeks after that, teeny near-transparent octopus babies began hatching and were given names like Rocket Larry, Squid Cudi, Swim Shady, Jay-Sea and Sea-Yoncé.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7353825745661250862\" data-video-id=\"7353825745661250862\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> AN OCTOPOSSE \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"octomom\" href=\"https://www.tiktok.com/tag/octomom?refer=embed\" target=\"_blank\" rel=\"noopener\">#octomom\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7353825857968540462?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cal had burst into tears at the family dinner table when his father first announced that the local aquarium store had told him adopting an octopus would be possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Father and son together researched what was needed, deciding on a saltwater tank and water cycling system and ensuring they would be able to source food for the soft-bodied sea creature.\u003c/p>\n\u003cp>The family’s younger son Lyle and mom Kari also joined the project in their own ways. A family friend who is a reptile scientist has provided support and advice.\u003c/p>\n\u003cp>While female octopuses usually die soon after laying their eggs, Clifford said Terrance remains alive four months later.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7355098970932153646\" data-video-id=\"7355098970932153646\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> FB Marketplace IYKYK \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"aquarium\" href=\"https://www.tiktok.com/tag/aquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#aquarium\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"clambake\" href=\"https://www.tiktok.com/tag/clambake?refer=embed\" target=\"_blank\" rel=\"noopener\">#clambake\u003c/a> \u003ca title=\"petoctopus\" href=\"https://www.tiktok.com/tag/petoctopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#petoctopus\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"♬ original sound - Shoptopus\" href=\"https://www.tiktok.com/music/original-sound-7355099371962583851?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Shoptopus\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clifford said the family has gained much from the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955125","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Aside from the physical, financial and emotional requirements of owning a species such as a bimac, you will learn a lot about yourself in the process,” the Arizona-born Clifford told TikTok followers in his app-generated accent. “There’s always some valve or seal that’s not completely closed, and your storm resistant carpet isn’t rated for gallons and gallons of seawater. You’ll learn that seawater and electricity don’t always get along.”\u003c/p>\n\u003cp>“You will learn new things and meet incredible people and will learn that wildlife is magnificent,” he added. “But most of all, you’ll learn to love a not-so-tiny octopus like Terrance.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@doctoktopus/video/7356635947531849002\" data-video-id=\"7356635947531849002\">\n\u003csection>\u003ca title=\"@doctoktopus\" href=\"https://www.tiktok.com/@doctoktopus?refer=embed\" target=\"_blank\" rel=\"noopener\">@doctoktopus\u003c/a> THANK YOU OCTO-NATION 🐙 ❤️ \u003ca title=\"octopus\" href=\"https://www.tiktok.com/tag/octopus?refer=embed\" target=\"_blank\" rel=\"noopener\">#octopus\u003c/a> \u003ca title=\"marinebiology\" href=\"https://www.tiktok.com/tag/marinebiology?refer=embed\" target=\"_blank\" rel=\"noopener\">#marinebiology\u003c/a> \u003ca title=\"shrimpdaddy\" href=\"https://www.tiktok.com/tag/shrimpdaddy?refer=embed\" target=\"_blank\" rel=\"noopener\">#shrimpdaddy\u003c/a> \u003ca title=\"saltwateraquarium\" href=\"https://www.tiktok.com/tag/saltwateraquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwateraquarium\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"saltwatertank\" href=\"https://www.tiktok.com/tag/saltwatertank?refer=embed\" target=\"_blank\" rel=\"noopener\">#saltwatertank\u003c/a> \u003ca title=\"mom\" href=\"https://www.tiktok.com/tag/mom?refer=embed\" target=\"_blank\" rel=\"noopener\">#mom\u003c/a> \u003ca title=\"crabcake\" href=\"https://www.tiktok.com/tag/crabcake?refer=embed\" target=\"_blank\" rel=\"noopener\">#crabcake\u003c/a> \u003ca title=\"cephalopod\" href=\"https://www.tiktok.com/tag/cephalopod?refer=embed\" target=\"_blank\" rel=\"noopener\">#cephalopod\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"carpetcleaners\" href=\"https://www.tiktok.com/tag/carpetcleaners?refer=embed\" target=\"_blank\" rel=\"noopener\">#carpetcleaners\u003c/a> \u003ca title=\"♬ Elevator Music (Music Background) - Music Background & Easy Listening Background Music & Haruto Nakamori\" href=\"https://www.tiktok.com/music/Elevator-Music-Music-Background-6841973391990212610?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Elevator Music (Music Background) – Music Background & Easy Listening Background Music & Haruto Nakamori\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956032/tiktok-octopus-terrance-two-spot-california-weird-pets","authors":["byline_arts_13956032"],"categories":["arts_1","arts_75"],"tags":["arts_9124","arts_8818","arts_2137","arts_2391","arts_8017"],"featImg":"arts_13956034","label":"arts"},"arts_13956246":{"type":"posts","id":"arts_13956246","meta":{"index":"posts_1591205157","site":"arts","id":"13956246","found":true},"guestAuthors":[],"slug":"the-stud-san-francisco-lgbtq-bar-reopening","title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","publishDate":1713551661,"format":"audio","headTitle":"The Stud, SF’s Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>[aside postid='arts_13936556']\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. [aside postid='arts_13953497']\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","status":"publish","parent":0,"modified":1713559167,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1384},"headData":{"title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","description":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","datePublished":"2024-04-19T18:34:21.000Z","dateModified":"2024-04-19T20:39:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7fc79c25-862e-45d6-a298-b157011425d9/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936556","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","authors":["11387","11672"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3226","arts_5351","arts_1146"],"featImg":"arts_13934323","label":"arts"},"arts_13956667":{"type":"posts","id":"arts_13956667","meta":{"index":"posts_1591205157","site":"arts","id":"13956667","found":true},"guestAuthors":[],"slug":"weinstein-overturned-conviction-me-too-misogyny-commentary","title":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","publishDate":1714086455,"format":"standard","headTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem | KQED","labelTerm":{},"content":"\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13934462']The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>[aside postid='arts_13908728']We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>[aside postid='arts_13918217']We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other thing that hasn’t changed? America does not care about women.\u003c/p>\n\n","blocks":[],"excerpt":"Harvey Weinstein's overturned conviction makes it hard to have faith in the legal process, writes Rae Alexandra. ","status":"publish","parent":0,"modified":1714087262,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1267},"headData":{"title":"Weinstein, Cosby, Simpson and America’s Misogyny Problem | KQED","description":"Harvey Weinstein's overturned conviction makes it hard to have faith in the legal process, writes Rae Alexandra. ","ogTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","ogDescription":"","ogImgId":"","twTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","twDescription":"","twImgId":"","socialTitle":"Weinstein, Cosby, Simpson and America’s Misogyny Problem %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","datePublished":"2024-04-25T23:07:35.000Z","dateModified":"2024-04-25T23:21:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sticky":false,"nprStoryId":"kqed-13956667","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934462","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908728","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918217","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other thing that hasn’t changed? America does not care about women.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary","authors":["11242"],"categories":["arts_1","arts_2303"],"tags":["arts_2798","arts_16989","arts_1873","arts_2767","arts_2777","arts_7580"],"featImg":"arts_13956685","label":"source_arts_13956667"},"arts_13939767":{"type":"posts","id":"arts_13939767","meta":{"index":"posts_1591205157","site":"arts","id":"13939767","found":true},"guestAuthors":[],"slug":"peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","title":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s","publishDate":1703782821,"format":"standard","headTitle":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s | KQED","labelTerm":{},"content":"\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]P[/dropcap]eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, \u003ca href=\"https://www.stonesthrow.com/\">Stones Throw\u003c/a>, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_nF0-WLXv4osbSzzBa2eRbCzGUClaGhu_Q\">My Vinyl Weighs a Ton\u003c/a>\u003c/em> still goes hard. \u003c/p>\n\u003cp>Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (\u003ca href=\"https://needletothegroove.net/\">Needle to the Groove Records\u003c/a>, \u003cem>\u003ca href=\"https://dadbodrappod.com/\">Dad Bod Rap Pod\u003c/a>\u003c/em>) has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13939819\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg\" alt=\"\" width=\"1920\" height=\"1534\" class=\"size-full wp-image-13939819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1536x1227.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With a Planet Patrol 12” single at friend Steve’s house, Christmas 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Ma:\u003c/strong> What was your musical experience growing up in San Jose?\u003c/p>\n\u003cp>\u003cstrong>Peanut Butter Wolf:\u003c/strong> My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, \u003cem>The Sound of Music\u003c/em>, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when \u003cem>Saturday Night Fever\u003c/em> came out, I was hooked on that sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did. \u003c/p>\n\u003cfigure id=\"attachment_13939817\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg\" alt=\"\" width=\"1920\" height=\"1790\" class=\"size-full wp-image-13939817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-800x746.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1020x951.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1536x1432.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-grade teacher Mr. Bowman, who introduced Chris to funk, soul, and disco in 1977. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?\u003c/strong>\u003c/p>\n\u003cp>It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we \u003cem>really\u003c/em> liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well. \u003c/p>\n\u003cp>[aside postID='arts_13923938']Movies like \u003cem>Breakin’\u003c/em>, \u003cem>Beat Street\u003c/em>, and \u003cem>Wild Style\u003c/em> were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like \u003cem>Magic Number Video\u003c/em> with Isaac Stevenson and \u003cem>Night Flight\u003c/em>, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of \u003cem>Graffiti Rock\u003c/em> came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).\u003c/p>\n\u003cfigure id=\"attachment_13939818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13939818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Listening to records at his friend Steve’s house. Christmas, 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your main mode for discovering music in a pre-internet era? \u003c/strong>\u003c/p>\n\u003cp>In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings. \u003c/p>\n\u003cfigure id=\"attachment_13939835\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13939835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Star Records shopping bag. Year unknown. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.\u003c/strong>\u003c/p>\n\u003cp>This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound. \u003c/p>\n\u003cp>[aside postID='arts_13927349']\u003cstrong>Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?\u003c/strong>\u003c/p>\n\u003cp>I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”\u003c/p>\n\u003cfigure id=\"attachment_13939821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg\" alt=\"\" width=\"1920\" height=\"1471\" class=\"size-full wp-image-13939821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A doodle of Chris by his high school classmate Rick Gray. Piedmont Hills High School, 1985. \u003ccite>(Illustration by Rick Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?\u003c/strong>\u003c/p>\n\u003cp>Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RiU_ysKjoyc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.\u003c/strong>\u003c/p>\n\u003cp>Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about. \u003c/p>\n\u003cp>Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the \u003ca href=\"https://www.youtube.com/watch?v=0JzDYv4VBYk\">Bass Creator song on a compilation I did\u003c/a>. But Jonathan is super prolific. He has hundreds and hundreds of songs.\u003c/p>\n\u003cfigure id=\"attachment_13939822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg\" alt=\"\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13939822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Cut and MC Cool Breeze in the back of a Suzuki Samurai on the way to a performance, 1986. \u003ccite>(Dave Gatt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.\u003c/strong> \u003c/p>\n\u003cp>So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze. \u003c/p>\n\u003cp>We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.\u003c/p>\n\u003cp>Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide. \u003c/p>\n\u003cp>[aside postID='arts_13937489']\u003cstrong>The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?\u003c/strong>\u003c/p>\n\u003cp>So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.\u003c/p>\n\u003cp>[aside postID='arts_13924224']\u003cstrong>San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?\u003c/strong>\u003c/p>\n\u003cp>Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence. \u003c/p>\n\u003cp>\u003cstrong>Did you ever hear that \u003ca href=\"https://www.youtube.com/watch?v=mxMCbtm4w78&list=OLAK5uy_ljXD8Mjs94cRT2cM-5XfD3FwpkpG5lges\">Raised By Seuss reissue from a few years ago\u003c/a>? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly. \u003c/strong>\u003c/p>\n\u003cp>Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For \u003ca href=\"https://www.youtube.com/watch?v=j9fk9Hw5iNc\">one of the songs I did with them\u003c/a>, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFEjqGsn7dY\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.\u003c/strong>\u003c/p>\n\u003cp>People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the \u003cem>Criminal Minded\u003c/em> album, and even Eric B. & Rakim’s \u003cem>Paid In Full\u003c/em>, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle. \u003c/p>\n\u003cp>[aside postID='arts_13936387']I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released \u003ca href=\"https://www.youtube.com/watch?v=2q-DLOE0MjI\">that tape\u003c/a>, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it. \u003c/p>\n\u003cp>\u003cstrong>One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?\u003c/strong> \u003c/p>\n\u003cp>Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2aLmQ5tP3hg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.\u003c/strong> \u003c/p>\n\u003cp>“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch. \u003c/p>\n\u003cp>[aside postID='arts_13935467']Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger. \u003c/p>\n\u003cp>It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.\u003c/p>\n\u003cfigure id=\"attachment_13939826\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg\" alt=\"\" width=\"1923\" height=\"1920\" class=\"size-full wp-image-13939826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1920x1917.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">‘Peanut Butter Breaks,’ a self-released 1994 instrumental LP, was funded by San Jose Latin freestyle label Upstairs Records and distributed by San Francisco rare groove reissue label Ubiquity Records. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Styles was also part of the group \u003ca href=\"https://www.youtube.com/watch?v=_PRN4IPWDko\">Third Sight\u003c/a> when they were active here in San Jose. What do you remember about them when they dropped?\u003c/strong>\u003c/p>\n\u003cp>I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records. \u003c/p>\n\u003cp>Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=h0cckKamCtg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record \u003cem>Peanut Butter Breaks \u003c/em>and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed. \u003c/p>\n\u003cfigure id=\"attachment_13939827\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg\" alt=\"\" width=\"1495\" height=\"1920\" class=\"size-full wp-image-13939827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1196x1536.jpg 1196w\" sizes=\"(max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">First round of Stones Throw logos submitted by Matthew Clark, 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw. \u003c/strong>\u003c/p>\n\u003cp>I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP \u003cem>Step On Our Egos\u003c/em>, then later on \u003cem>My Vinyl Weighs A Ton\u003c/em> along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.\u003c/p>\n\u003cfigure id=\"attachment_13939824\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg\" alt=\"\" width=\"1920\" height=\"1948\" class=\"size-full wp-image-13939824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1514x1536.jpg 1514w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First production on vinyl: Lyrical Prophecy, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?\u003c/strong>\u003c/p>\n\u003cp>I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.\u003c/p>\n\u003cp>So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “\u003ca href=\"https://www.youtube.com/watch?v=z2_hStmncxw\">You Can’t Swing This\u003c/a>,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.\u003c/p>\n\u003cfigure id=\"attachment_13939830\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13939830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf by the San Jose train tracks, 1991. \u003ccite>(Theresa Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?\u003c/strong>\u003c/p>\n\u003cp>We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on \u003cem>In Living Color\u003c/em>, \u003cem>Rap City\u003c/em>, \u003cem>Yo! MTV Raps\u003c/em> and \u003cem>The Arsenio Hall Show\u003c/em>, get written up in \u003cem>The Source\u003c/em>,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called \u003cem>Dance Music Report\u003c/em>, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s \u003cem>In Control\u003c/em> by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging. \u003c/p>\n\u003cp>There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma \u003cem>also\u003c/em> had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.\u003c/p>\n\u003cfigure id=\"attachment_13939833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg\" alt=\"\" width=\"1920\" height=\"1345\" class=\"size-full wp-image-13939833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1536x1076.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charizma, Peanut Butter Wolf’s dad, Charizma’s dad and Peanut Butter Wolf at Charizma’s house, 1992. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you know about Charizma’s group, II Def II Touch, before you guys linked?\u003c/strong> \u003c/p>\n\u003cp>I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think. \u003c/p>\n\u003cfigure id=\"attachment_13939831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg\" alt=\"\" width=\"1920\" height=\"1389\" class=\"size-full wp-image-13939831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1536x1111.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Chris Cut’s first demo, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the recording process like? Did you guys have similar taste in other artists?\u003c/strong>\u003c/p>\n\u003cp>Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.\u003c/p>\n\u003cfigure id=\"attachment_13939825\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13939825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf’s first and only German tour as a group in 1992. With Money B, Hi-C, and Hollywood Records A&R Casual T. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.\u003c/strong>\u003c/p>\n\u003cp>In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.\u003c/p>\n\u003cp>[aside postID='arts_13933590']\u003cstrong>You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.\u003c/strong>\u003c/p>\n\u003cp>In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried \u003cem>Ultimate Breaks & Beats\u003c/em>, and that was a huge deal. But yeah, overall, Star Records was the best.\u003c/p>\n\u003cfigure id=\"attachment_13939820\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg\" alt=\"\" width=\"1920\" height=\"1810\" class=\"size-full wp-image-13939820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--800x754.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1020x962.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--768x724.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1536x1448.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An electro mixtape made by Chris in 1984. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked? \u003c/strong>\u003c/p>\n\u003cp>I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.\u003c/p>\n\u003cp>Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.\u003c/p>\n\u003cfigure id=\"attachment_13939828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg\" alt=\"\" width=\"1920\" height=\"1395\" class=\"size-full wp-image-13939828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second round of logos by Matthew Clark, including the one chosen to be ‘official,’ 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?\u003c/strong>\u003c/p>\n\u003cp>San Jose was \u003cem>not\u003c/em> a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The DJ, producer and label owner discusses San Jose's earliest hip-hop activity — and the dedication required in those years to be part of it.","status":"publish","parent":0,"modified":1705002944,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":67,"wordCount":7040},"headData":{"title":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s | KQED","description":"The DJ, producer and label owner discusses San Jose's earliest hip-hop activity — and the dedication required in those years to be part of it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Peanut Butter Wolf on San Jose Hip-Hop in the ’80s and ’90s","datePublished":"2023-12-28T17:00:21.000Z","dateModified":"2024-01-11T19:55:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"authorsData":[{"type":"authors","id":"byline_arts_13939767","meta":{"override":true},"slug":"byline_arts_13939767","name":"David Ma","isLoading":false}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWneg-3-1020x702.jpg","width":1020,"height":702,"mimeType":"image/jpeg"},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWneg-3-1020x702.jpg","width":1020,"height":702,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["bay area hip-hop","dj shadow","featured-arts","Hip Hop","San Jose","tmw-latest","turntablism"]}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"nprByline":"David Ma","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>eanut Butter Wolf is a San Jose legend. As a DJ, producer, archivist and record label owner, his contributions to Bay Area hip-hop loom large — even after a move to Los Angeles to run his label, \u003ca href=\"https://www.stonesthrow.com/\">Stones Throw\u003c/a>, which has released undisputed classics from MF Doom, J. Dilla, Madlib and many others. He’s chronicled and reissued more early San Jose rap than anyone, and his own 1998 solo opus \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_nF0-WLXv4osbSzzBa2eRbCzGUClaGhu_Q\">My Vinyl Weighs a Ton\u003c/a>\u003c/em> still goes hard. \u003c/p>\n\u003cp>Here, Peanut Butter Wolf reminisces on growing up in San Jose in the ’80s and ’90s; the dedication required to discover new hip-hop in those early years; and the serendipitous circumstances of his early collaborations with South Bay rappers. This interview with San Jose’s David Ma (\u003ca href=\"https://needletothegroove.net/\">Needle to the Groove Records\u003c/a>, \u003cem>\u003ca href=\"https://dadbodrappod.com/\">Dad Bod Rap Pod\u003c/a>\u003c/em>) has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13939819\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg\" alt=\"\" width=\"1920\" height=\"1534\" class=\"size-full wp-image-13939819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-PBW-xmas-Planet-Patrol-record-1536x1227.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">With a Planet Patrol 12” single at friend Steve’s house, Christmas 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Ma:\u003c/strong> What was your musical experience growing up in San Jose?\u003c/p>\n\u003cp>\u003cstrong>Peanut Butter Wolf:\u003c/strong> My musical experience started with my parents showing me the music they liked, which was mainly classical, showtunes, swing and country. They belonged to a “record of the month” club where they paid a monthly fee and could choose a different record to be mailed to them each month — Beethoven, \u003cem>The Sound of Music\u003c/em>, Frank Sinatra, John Denver. I liked the music OK, but I also liked getting the box in the mail and opening it up. Then my mom would let me get a 45 every now and then, and when \u003cem>Saturday Night Fever\u003c/em> came out, I was hooked on that sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My second-grade teacher would also show me music. I found out about The Sylvers, The Jacksons, Heatwave and others from him. By age 9, in 1979, my best friend Steve and I were buying 45s every weekend at Star Records. We’d save our lunch money and buy a record or two, play some video games, buy some baseball cards and get a junior whopper at Burger King. The owner would be impressed that these little kids knew the latest songs even before she did, and she told me “When you get old enough to work, I’m gonna hire you.” She eventually did. \u003c/p>\n\u003cfigure id=\"attachment_13939817\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg\" alt=\"\" width=\"1920\" height=\"1790\" class=\"size-full wp-image-13939817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-800x746.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1020x951.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1977-Mr-Bowman-2nd-Grade-teacher-1536x1432.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second-grade teacher Mr. Bowman, who introduced Chris to funk, soul, and disco in 1977. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did hip-hop enter your consciousness? And, to the best of your memory, what was the reaction to hip-hop in the South Bay?\u003c/strong>\u003c/p>\n\u003cp>It started for me with “Rappers Delight” and “The Breaks.” Those were my favorite songs of the year. That’s when I discovered 12” singles, which cost $4.99 compared to 99¢ for a 45, so we’d only buy those if it was something we \u003cem>really\u003c/em> liked. And stuff like “Double Dutch Bus” was rap to us too. We didn’t really know the difference. After “Rappers Delight” took off, funk and soul artists tried rapping too, and we loved it all: “Fantastic Voyage,” “Square Biz,” “Rapture.” But also thanks to the success of “Rappers Delight,” the label that they were on, Sugar Hill Records, was really the only “hip-hop” label that got distribution in the stores we went to in San Jose. We bought records by Grandmaster Flash, Treacherous Three, Crash Crew, The Sequence, West Street Mob — basically anything on that label we could find. And when breaking got big in 1984, it helped bring rapping, DJing, and graffiti to the forefront as well. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Movies like \u003cem>Breakin’\u003c/em>, \u003cem>Beat Street\u003c/em>, and \u003cem>Wild Style\u003c/em> were so exciting. We’d go to Chuck E. Cheese to witness breakdance battles. And our VCR would always be ready in case there was breaking on the news. We’d even tape the TV commercials that had breaking in them — Mountain Dew had one, and Sprite. And shows like Soul Train, cable access video shows like \u003cem>Magic Number Video\u003c/em> with Isaac Stevenson and \u003cem>Night Flight\u003c/em>, college radio stations like KZSU with Kevvy Kev, KSCU, and KSJS. We’re talking mid ’80s. When the pilot episode of \u003cem>Graffiti Rock\u003c/em> came out, we were so excited and recorded it on our VCR and kept watching it over and over. I remember at the end, Shannon does a hair flip with her beads, and they hit one of the members of Run-DMC in the face and we’d watch it over and over on slow motion. But we had to find every song in that episode (we knew most already).\u003c/p>\n\u003cfigure id=\"attachment_13939818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13939818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1982-DJ-Chris-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Listening to records at his friend Steve’s house. Christmas, 1982. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your main mode for discovering music in a pre-internet era? \u003c/strong>\u003c/p>\n\u003cp>In the early ’80s, most of our favorite stuff as pre-teen kids was on radio station KSOL, but only getting played rarely, at night or on the weekends. You could hear stuff like that at Cal Skate, which was a roller rink in Milpitas. We were friends with an older guy David Gillespie who would let us borrow his albums so we could record them too. Besides those few 12”s that we’d sometimes buy, we were still mainly buying 45s. And sometimes the 45 would be sold out, so we’d have to record it from the radio until it was available, because otherwise, we couldn’t hear the song “on demand.” But when you do that, you miss the beginning and ending of the song because the announcer is talking over it, and God forbid, you’d never want that. But we were too young to go to clubs or live shows, so we didn’t really have much of a way to hear hip-hop in San Jose besides the record stores, mix shows on KSOL, and word of mouth from friends with older siblings. \u003c/p>\n\u003cfigure id=\"attachment_13939835\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13939835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Star-Records-shopping-bag-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Star Records shopping bag. Year unknown. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seems like you mostly DJ now at gigs, but I want to know about your early beatmaking — for example, the stuff you did with Charizma. Tell us about who your production influences were at the time.\u003c/strong>\u003c/p>\n\u003cp>This was around 1984, so I was really influenced by stuff like “F-4000,” “Sucker MCs,” “What People Do For Money,” “Alnaayfish,” “The Show,” “Request Line,” “Fresh Is the Word,” “King Kut,” “Techno Scratch,” “Roxanne, Roxanne,” “Buffalo Gals,” “Beat Box,” “What Is A DJ If He Can’t Scratch,” “Five Minutes Of Funk” and others. The stuff with just a drum machine and scratching appealed to us the most. We didn’t wanna play keyboards or bass at that point. We just wanted hard drums, rapping, and scratching. The whole point with the second wave of hip-hop that started with the drum machines and scratching was that we didn’t like hip-hop with a live band anymore, like the stuff on Sugar Hill Records that we loved a few years before. It was all about Run-DMC and the stripped-down, hardcore sound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Tell about when you made beats; the equipment you used, what the process was like, what samples you looked for. Were you trying to emulate anyone? Were there other San Jose producers you interacted with?\u003c/strong>\u003c/p>\n\u003cp>I guess that depends on which years. The early drum machines I used were the Mattel Synsonics and then the Boss Dr. Rhythm. The early recordings were done live, with the mic, turntables, and drum machine all plugged into my Realistic mixer from Radio Shack. If you messed up with any of the elements, you’d have to rewind the tape and start all over. And then the Casio RZ-1 that I bought in 1987 when I was in Long Beach, which was later Prince Paul’s signature sound. It was strictly drum machine and scratching. I always wanted an 808, but couldn’t afford one. Then, in 1989, I bought my first real sampler: an Ensoniq EPS workstation. I used that throughout the ’90s. It was the same sampler that RZA used for all his early classic albums and sounded really raw. In those years, I really loved Marley Marl, the Bomb Squad, and the 45 King. And I was really impressed with a local hip-hop producer DJ Divine, who later changed his name to Raleem and then eventually became Assassin. And of course, King Shameek was a big influence because I loved his beats, but also because he moved to New York and “made it.”\u003c/p>\n\u003cfigure id=\"attachment_13939821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg\" alt=\"\" width=\"1920\" height=\"1471\" class=\"size-full wp-image-13939821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1985-Cut-It-Up-Chris-lo-res-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A doodle of Chris by his high school classmate Rick Gray. Piedmont Hills High School, 1985. \u003ccite>(Illustration by Rick Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s get into more obscure San Jose rap that made an impact on you yet doesn’t get brought up often. Do you remember the Members Only crew?\u003c/strong>\u003c/p>\n\u003cp>Of course, I do. They were a major influence because they were the first hip-hop group from the South Bay that I knew about, and the songs were dope. They were all college students at Stanford University and their DJ Markski was the older brother of my friend Todd from high school. I was so excited when their record came out. I was already listening to Kevvy Kev’s hip-hop radio show “The Drum” every Sunday from 6-9 p.m., and I’d learn about all the underground stuff. My parents were divorced at the time and every Sunday, I’d go to my dad’s house, so I’d listen to it in the garage. That was the only place that had a radio besides his car. We’d play pool in there. I remember one time Kev played the bonus beats of the song “Request Line,” and it had a little vocal sample that said “Hello, hello, hello… hello…,” and it repeated over and over, and my dad said, “This isn’t real music. Anyone can do that.” I got so mad. But Kev was one of the rappers in Members Only, and Jonathan Brown was one of the other MCs in the group, and Jonathan had his show on KZSU at 9 p.m. We bought the record and taped the video off of “Magic Number Video,” and recently digitized it and gave it to Jonathan, and he was so happy. He uploaded it to YouTube.\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/RiU_ysKjoyc'\n title='//www.youtube.com/embed/RiU_ysKjoyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>There was a sizable bass and electro scene in the South Bay. Tell us about Jonathan Brown — who he is, what he did, and why he shouldn’t be left out of the history we’re discussing.\u003c/strong>\u003c/p>\n\u003cp>Yeah, San Jose in particular felt like a sister city to Miami. Latin Freestyle music and Miami Bass music really connected with an audience in San Jose. MC Twist was also the first rapper from San Jose to sign with a well-known label, Luke Skyywalker Records, which was from Miami. I didn’t know about him working at Star Records, but I remember him coming in and people being in awe. Before even hearing the music, there was a buzz about him being the first rapper from San Jose to get signed to a label we all knew about. \u003c/p>\n\u003cp>Jonathan Brown was one of the rappers in the Members Only Crew in 1985, but he gravitated more towards bass music. He released records that sounded like lo-fi Egyptian Lover. I wasn’t really into them at the time because I was all about my New York hardcore rap, like Schoolly D and Just-Ice and Ultramagnetic MCs, stuff like that, but my best friend Steve bought his Bass Creator album. Years later, I really liked it. I tried unsuccessfully to release his music on Stones Throw as a reissue, other than the \u003ca href=\"https://www.youtube.com/watch?v=0JzDYv4VBYk\">Bass Creator song on a compilation I did\u003c/a>. But Jonathan is super prolific. He has hundreds and hundreds of songs.\u003c/p>\n\u003cfigure id=\"attachment_13939822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg\" alt=\"\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13939822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1986-DJ-Chris-Cut-w-MC-Cool-Breeze-in-the-back-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Cut and MC Cool Breeze in the back of a Suzuki Samurai on the way to a performance, 1986. \u003ccite>(Dave Gatt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell folks who Cool Breeze was? I know you two had even recorded some songs together.\u003c/strong> \u003c/p>\n\u003cp>So, the first group I was in was called The Slobs. It was MBJ (Miles) and CKB (Kamaal) on the rhymes and me on the beats and cuts. The Fat Boys had just made it, and the MCs I worked with were both big guys, so they thought “If the Fat Boys can do it, so can we.” Miles was truly the first guy to believe in himself and believe in me, and he borrowed a drum machine from a friend and gave it to me so I could make beats. He had the most ambition of all of us, but not so much talent. He later went solo because CKB never took it as serious, and he changed his name from MBJ to Cool Breeze. \u003c/p>\n\u003cp>We recorded our early demos at King Shameek’s house; he was in a group called Def City Crew with this MC named Landon Green. Shameek always told us we were all gonna make it, and then he moved to New York and became the DJ/producer for Twin Hype, and did beats for King Sun and other rappers. None of us could believe it.\u003c/p>\n\u003cp>Before I moved to Long Beach for college, this DJ on KMEL named Alexander Mejia heard our demo and hooked us up with a show opening for a freestyle artist named Trinere. We were so excited. It was around 800 people, definitely the biggest audience we played for up to that time. Then I moved, and Cool Breeze joined the army, and also moved, and we lost touch. Years later, I found out he committed suicide. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937489","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>The Eastside Prep Boys were around in the mid-’80s and made a name for themselves. Yet they’re also forgotten when it comes to San Jose history. Can you tell us who they were?\u003c/strong>\u003c/p>\n\u003cp>So around 1985, I worked with an MC named Marky D, who later changed his name to Marky Fresh since one of the Fat Boys was named Marky D. Then there was an MC in New York named Marky Fresh who worked with the 45 King. But my Marky had a really deep voice, like Spyder D, even though we were only 15. I was really excited to record with him, but I could never get him to write down rhymes. He always freestyled his way through it. When “Roxanne, Roxanne” came out, we did an answer rap to it. And even before me getting a hold of drum machines, I had him rap over the instrumental of the new wave song “Sex” by Berlin. He never really seemed that worried about becoming a rapper as a career or anything, but was the nicest guy you’d ever meet. He also got into mobile DJing high energy and freestyle music, and then eventually became a nightclub security guard and then an Ultimate Fighter. Decades later, I released a 7” of one of the songs under the fake name “Eastside Prep Boys.” I used the Mattel Synsonic Drums which were a drum machine/electronic drums you could buy at Toys R Us. And the scratching was terrible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924224","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>San Jose is interesting in that two of the most beloved early rap groups from the area have similar names — Homeliss Derilex and the Dereliks. When did both come on your radar? What are the main distinctions between the two? You even have a song with 50 Grand. Tell us about it?\u003c/strong>\u003c/p>\n\u003cp>Well at the time, they had beef, and I was friends with the Homeless Derilex so I couldn’t listen to the Dereliks. But the Homeless Derilex sounded more like a Gang Starr influence, and the Dereliks sounded more like a Hiero influence. \u003c/p>\n\u003cp>\u003cstrong>Did you ever hear that \u003ca href=\"https://www.youtube.com/watch?v=mxMCbtm4w78&list=OLAK5uy_ljXD8Mjs94cRT2cM-5XfD3FwpkpG5lges\">Raised By Seuss reissue from a few years ago\u003c/a>? They were from Sunnyvale, supposedly. Any reaction to their music? I know plenty of folks for your era who speak of them highly. \u003c/strong>\u003c/p>\n\u003cp>Raised By Seuss was partly brought to my attention by DJ Pioneer, who also knew DJ Raleem. I think out of all the rappers I was working with in San Jose around 1990, besides Charizma, they got the more playful De La Soul, KMD and bohemian influences that I had, more than anybody else. DJ Pioneer was doing their beats. He was another great producer, and I actually liked the songs they did with him better than the ones with me. In those years, I was so concerned with making stuff sound “different” that some of my beats didn’t have that funky, soulful, hip-hop essence. Pioneer always had that. Raised By Seuss really only came to my house a few times to record, but cool cats. For \u003ca href=\"https://www.youtube.com/watch?v=j9fk9Hw5iNc\">one of the songs I did with them\u003c/a>, I ended up developing the track more and eventually gave it to Charizma for a song we did called “Ice Cream Truck.”\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/cFEjqGsn7dY'\n title='//www.youtube.com/embed/cFEjqGsn7dY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>How was gangsta rap received in San Jose? How did it strike you? I think you produced a gangsta rap group as well — tell us about them, if you remember.\u003c/strong>\u003c/p>\n\u003cp>People loved gangsta rap in San Jose in the late ’80s and early ’90s. That was definitely selling more than the East Coast stuff. I liked the early East Coast gangsta rap, but we just called it “hardcore.” Stuff like Schoolly D, Just-Ice, Boogie Down Productions’ first album. Gangster rappers around the country were really into the \u003cem>Criminal Minded\u003c/em> album, and even Eric B. & Rakim’s \u003cem>Paid In Full\u003c/em>, EPMD and Public Enemy. Gangsta rap would sample their voices for choruses and make beats that sounded similar, but the whole G-funk sound that grew out of the gangsta rap thing — I wasn’t really listening to it all that much when it was happening. We played a little bit of NWA and Eazy-E on the radio, but we also felt a responsibility to play stuff that hip-hop fans in San Jose didn’t really know or have access to. I also wasn’t interested in really making that music, because I was so excited about digging in the crates and finding rare, weird shit to sample. G-funk was more crisp synths and drum machines, and well-known early ’80s funk like Zapp and One Way. Which was the music I loved when it was happening, but by the early ’90s I was looking for a new sound. And I also didn’t relate to the lifestyle. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936387","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I was in college and getting really curious about and attracted to stuff like the Universal Zulu Nation and the 5 Percenters. But this more street group called the Siggnett Posse found out about me through Charizma’s dad, who played in a reggae band with this guy who knew them. They didn’t know any producers, so they were introduced to me. One of the rappers was from San Francisco, and the other was from Oakland, so they called their crew BSB, which stood for Both Sides Of The Bay. They sounded more like Totally Insane, Rappin’ 4-Tay, MC Breed or Paperboy, but it had a 408 connection because of me. I made the beats at my house in San Jose; we tracked the music and their vocals in a studio in San Jose as well. The main rapper, J-Wanz, was the nephew of Victor Willis, the lead singer and songwriter of the Village People. After we released \u003ca href=\"https://www.youtube.com/watch?v=2q-DLOE0MjI\">that tape\u003c/a>, Victor called me and wanted me to produce his solo record with hip-hop sounding beats, but I never followed up. I wasn’t sure how that would sound, but looking back, “YMCA” was my favorite song when I was 7, so maybe I should’ve just tried it. \u003c/p>\n\u003cp>\u003cstrong>One of our favorites, and one of the best turntablists on the planet, is D-Styles, who lived in the South Bay area for a minute. Can you tell us about when you two crossed paths?\u003c/strong> \u003c/p>\n\u003cp>Back in around 1985, when I was in high school and had 2 turntables and a mixer, D-Styles went to middle school with my younger sister. I’m guessing she told him I was a DJ. The way I remember it, my sister brought him over to the house and into my room, and she asked me to show him how to scratch. I was a little protective as the older brother, and didn’t want her talking to guys, even if she said they were just friends. So I didn’t wanna show him all the turntable tricks I learned. Back then, at our age, there really was no way to learn how to scratch other than listening to records and trying to mimic what the DJs did on record.\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/2aLmQ5tP3hg'\n title='//www.youtube.com/embed/2aLmQ5tP3hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell us about your DJing experience with one another, as one of a few who experimented with it at the time.\u003c/strong> \u003c/p>\n\u003cp>“Adventures Of Grandmaster Flash” was one of the first songs we’d all try to learn, and then “Buffalo Gals” by Malcolm McLaren, “Rockit” with Grandmixer DST and “Techno Scratch” by Knights Of The Turntable. “Looking For The Perfect Beat” confused us, because it sounded like scratching, but it didn’t sound like a human did it; it was more robotic. But there was “What Is A DJ If He Can’t Scratch” by Egyptian Lover, “Reckless” with Chris “The Glove” Taylor, “Surgery” by the Wreckin’ Crew. Those years in 1982–1983 really made me want to learn how to scratch. I didn’t even care about mixing. I’d go to parties and school dances where Jazzy Jim or D’Jam Hassan or Joey J. Rox was DJing, and literally ask if could get on their turntables and show the crowd that I knew how to scratch. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935467","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Looking back, it was really bold to the point of insulting for me to do that, but I didn’t know any better. I was 15. And there weren’t really felt slipmats that you could buy, so we would use the rubber platter that came with the turntable and try to scratch with that under the record. It would ruin my records. And I couldn’t really afford Technics 1200s until the mid-’90s, so even the scratches I did on the songs with Charizma in the early ’90s were done with a Fisher turntable that didn’t even have pitch control and a Radio Shack Realistic mixer. I taped my library card to the crossfader to be able to scratch faster, but even then, you could hear the static as it was happening. By around 1986 when DJ Cheese and Jazzy Jeff and Cash Money came out, transforming and chirping and doing all these difficult scratches, I tried to use the on/off button on my mixer and I’d have these terrible calluses on my thumb and index finger. \u003c/p>\n\u003cp>It would literally hurt to scratch, but we were committed. We’d use WD-40 to try to make the mixer less sticky so we could scratch faster. The WD-40 helped get rid of the static, too. But back to D-Styles — when I later heard about him joining the Skratch Piklz in the late ’90s and being one of the only DJs who could hang with Qbert, I was so proud that a guy from San Jose that I personally knew made it so far with scratching. By then, he was obviously way better than me with turntablism, and has been ever since.\u003c/p>\n\u003cfigure id=\"attachment_13939826\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg\" alt=\"\" width=\"1923\" height=\"1920\" class=\"size-full wp-image-13939826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1536x1534.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1994-PB-Breaks-1920x1917.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">‘Peanut Butter Breaks,’ a self-released 1994 instrumental LP, was funded by San Jose Latin freestyle label Upstairs Records and distributed by San Francisco rare groove reissue label Ubiquity Records. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Styles was also part of the group \u003ca href=\"https://www.youtube.com/watch?v=_PRN4IPWDko\">Third Sight\u003c/a> when they were active here in San Jose. What do you remember about them when they dropped?\u003c/strong>\u003c/p>\n\u003cp>I loved that record. I was working as the hip-hop buyer at a record distributor in Burlingame called TRC Distributors, and I got that record into stores all around the world. I got the Dereliks and the Homeliss Derilex into stores around the world as well. TRC was a mainly vinyl, mainly house and rave music distributor; I called and asked if I could start a hip-hop division, and they gave me a shot. New York stores generally didn’t care about San Jose rap, or Bay Area rap in general, but I got a lot of these underground West Coast indie hip-hop records to stores up and down California, and eventually the UK, Germany, Australia and Japan. I would buy magazines dedicated to DJ culture, and there would always be ads for record stores in the back. I’d cold-call them all and ask if they liked hip-hop, and many were receptive. Some of my bigger successes were Dr. Octagon, Jurassic 5 and all the Qbert battle records. \u003c/p>\n\u003cp>Some stores would take 50–100 copies of these records at a time. I’d literally play them all the new underground records I had in stock over the phone, and they’d order them that way. Also, at the time, people would order all of their major label and indie label hip-hop from East Coast distributors, but since the Rainbo Records plant was on the West Coast, I had access to a lot of the major label records before the East Coast ones. So all these stores around the world who wouldn’t give me the time of day at first started buying things from me like like Cypress Hill, The Fugees, Biggie, and Pac. I’d convince them to pad their order with the underground shit I would recommend, and they eventually learned that a lot that stuff would sell well too. And in Europe, Asia and Australia, there was a genuine love for the weirder stuff.\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/h0cckKamCtg'\n title='//www.youtube.com/embed/h0cckKamCtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>I did the “Step On Our Egos” EP in 1995, with beats by me and all San Jose MCs, and it was released by South Paw Records, which was started by an A&R of Delicious Vinyl. He heard by record \u003cem>Peanut Butter Breaks \u003c/em>and offered to put out an EP with me. I was excited to showcase my beats with my favorite South Bay rappers. At the same time, two different UK labels signed me to non-exclusive deals to do records for them. This was when DJ Shadow was getting really big over there, and labels were looking for more of that Bay Area “trip hop” sound. We all hated that generalization, but long story short, DJ Shadow was wearing a Charizma & Peanut Butter Wolf T-shirt in his promo pictures and the press and labels over there all started searching for me. I remember getting a call from Madonna’s manager who told me she read about me in a UK magazine and wanted to consider me for a remix, and asked me to send a copy of my music. When she heard it, she passed. \u003c/p>\n\u003cfigure id=\"attachment_13939827\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg\" alt=\"\" width=\"1495\" height=\"1920\" class=\"size-full wp-image-13939827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logo-first-round011-1196x1536.jpg 1196w\" sizes=\"(max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">First round of Stones Throw logos submitted by Matthew Clark, 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you touch on Dave Dub? He’s a San Jose stalwart and you put some of his early stuff on Stones Throw. \u003c/strong>\u003c/p>\n\u003cp>I love Dave Dub. He was in a crew called The Underbombers with Persevere. I put out his stuff on my EP \u003cem>Step On Our Egos\u003c/em>, then later on \u003cem>My Vinyl Weighs A Ton\u003c/em> along with Zest The Smoker and others from San Jose. I think I originally met him through this kid Sid, who hung around my younger brother (8 years younger than me). Sid lived with his mom in the same condo complex where I lived with my mom, and Sid used to come over my house and sometimes hang with Charizma and I. He later changed his name to Tape Master Steph and he got the same sampler that I had, the Ensoniq EPS, and started making beats for Dave Dub, Zest, and others. But Dave was and is very talented. I just did a remix for Dave Dub and Myka 9, and we’ve been talking about possibly doing an album together.\u003c/p>\n\u003cfigure id=\"attachment_13939824\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg\" alt=\"\" width=\"1920\" height=\"1948\" class=\"size-full wp-image-13939824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1990-LYRICAL-1514x1536.jpg 1514w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First production on vinyl: Lyrical Prophecy, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We need to talk about Lyrical Prophecy. Tell us about your experience with them. It was your first credit, right? As Chris Cut?\u003c/strong>\u003c/p>\n\u003cp>I was DJing on KSJS on their late night hip-hop show called Project Sound, and the program director Kim Collett and the assistant director George Headly were working on this record with a San Jose hip-hop group that sounded like they were from New York. One MC in Lyrical Prophecy was named Quiz One; he was an intimidating 6’5” and 300 pounds. The other MC was named Double Duce. Twenty years later, his son actually did the beats for an album with Phife right before Phife passed away. And Raleem was the producer. I loved what I heard from them and somehow got to go to the studio with them. Raleem was open minded enough to let me add my own ideas over the songs ± some samples and scratches — and even eventually gave me co-producing credit on them. Before we pressed the record, something happened where Double Duce’s raps were recorded over by another MC named Deshee. Deshee was very abstract and lyrical and people compared him to Rakim because of his voice. Even his speaking voice was similar, so none of us ever felt like he was biting.\u003c/p>\n\u003cp>So me and Kim and George each pitched in $500, and for $1,500, we were able to press 500 units. My dad loaned me the money so I could be part of this business venture, even though he always told me, “You’ll never make it doing music. There’s only one Michael Jackson. There’s only one MC Hammer.” I told him “I don’t wanna be either of those guys. I wanna do underground music.” Ironically, the record we made was called “\u003ca href=\"https://www.youtube.com/watch?v=z2_hStmncxw\">You Can’t Swing This\u003c/a>,” and later, Hammer came out with “U Can’t Touch This.” We were sure that he got the idea from us, but looking back now… highly doubtful. It was just a popular Bay Area hip hop saying.\u003c/p>\n\u003cfigure id=\"attachment_13939830\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13939830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BWphotos-12-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf by the San Jose train tracks, 1991. \u003ccite>(Theresa Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some of the timeless hip-hop from this area and era is the stuff you did with Charizma. Can you please tell us your origin story as a duo?\u003c/strong>\u003c/p>\n\u003cp>We had just put out the Lyrical Prophecy record and we didn’t know how to distribute it or promote it. I made up a promotional “goals” one-sheet, and it was stuff like “Get on \u003cem>In Living Color\u003c/em>, \u003cem>Rap City\u003c/em>, \u003cem>Yo! MTV Raps\u003c/em> and \u003cem>The Arsenio Hall Show\u003c/em>, get written up in \u003cem>The Source\u003c/em>,” all stuff that was only possible if we were on a big indie label or major label. We got one write-up in a magazine called \u003cem>Dance Music Report\u003c/em>, but coming from the Bay and making New York sounding hip-hop wasn’t the move. We didn’t even master the vinyl — we didn’t know what that was — so it sounded really lo-fi and muddy. But what I did notice was once we had a record out, every rapper in San Jose who was into the same stuff we were into (YZ, Poor Righteous Teachers, Ed O.G., Gang Starr, Public Enemy, De La Soul) found a way to get in touch with me because we actually had a record out. I was meeting so many rappers in 1990 that I wanted to do a West Coast version of Marley Marl’s \u003cem>In Control\u003c/em> by doing songs with all the rappers I knew. And Charizma was one of those rappers. It was hard. I was living at home with my mom and brother and sister, and I worked and went to school, so it made scheduling having rappers come over the house challenging. \u003c/p>\n\u003cp>There were no cell phones or email, so you just had to get a hold of people when you were home and they were home. One day, my friend Kermit from high school brought Charizma to my house. It got confusing because Charizma \u003cem>also\u003c/em> had a friend named Kermit who became our hype man and dancer for our live shows. Charizma had way more drive and focus and excitement than all the other rappers I was working with, but I wanted to at least get a few songs from each rapper, pick the best one from each of them and put out the compilation. When Charizma asked to come over, a lot of times I’d be like “I can’t do today. So-and-so is coming over.” And Charizma said, “I hear ya, but I’m the best of everyone so eventually you’re gonna drop everyone else and focus on me.” And it worked. He planted that seed.\u003c/p>\n\u003cfigure id=\"attachment_13939833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg\" alt=\"\" width=\"1920\" height=\"1345\" class=\"size-full wp-image-13939833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-PBWs-dad-Charizmas-dad-PBW-1536x1076.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charizma, Peanut Butter Wolf’s dad, Charizma’s dad and Peanut Butter Wolf at Charizma’s house, 1992. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you know about Charizma’s group, II Def II Touch, before you guys linked?\u003c/strong> \u003c/p>\n\u003cp>I didn’t know about II Def II Touch before I met Charizma. They lived in Milpitas and I lived in Northeast San Jose on the border of Milpitas. So we were really close, but they were in high school and I was in college, so kind of a different scene. But when I first met him, his name was Charlie C and my name was Chris Cut. I eventually met the other MC in the group with Charizma and he was cool too. I think his name was Ty or Tyadi. His dad or his uncle was in The Natural Four, who were an R&B group that worked under Curtis Mayfield. The original business card Charizma gave me was for II Def II Touch, I think. \u003c/p>\n\u003cfigure id=\"attachment_13939831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg\" alt=\"\" width=\"1920\" height=\"1389\" class=\"size-full wp-image-13939831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charizma-Chris-Cutt-demo-1536x1111.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Chris Cut’s first demo, 1990. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the recording process like? Did you guys have similar taste in other artists?\u003c/strong>\u003c/p>\n\u003cp>Some of our mutual rappers we loved besides the ones I mentioned above were Lord Finesse, Brand Nubian, The Juice Crew like Masta Ace and Craig G, so on and so on. Charizma loved Special Ed. That was his favorite. The recording process was that I’d work on beats on my own in my Ensoniq EPS sampler and then show them all to him and he’d pick his favorites. Charizma knew how to make beats too, but he never pushed his beats on the project. He gave me full creative control. He would pick vocal snippets and sound effects and stuff like that, but the tracks were all me and the lyrics and vocals were all him. We were a group for four years before he passed away.\u003c/p>\n\u003cfigure id=\"attachment_13939825\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13939825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1992-Germany-w-Money-B-Hi-C-PBW-Casual-T-Charizma-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charizma and Peanut Butter Wolf’s first and only German tour as a group in 1992. With Money B, Hi-C, and Hollywood Records A&R Casual T. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I know you’ve spoken about this before, but for this piece I think we should include it. Please tell us what occurred with Charizma, and take us back to the day or moment you found out.\u003c/strong>\u003c/p>\n\u003cp>In December 1993, we were supposed to go to a recording studio and lay down a song. He left a voice message on my pager that he wasn’t gonna be able to do it because he had something to take care of. He was killed shortly afterward that day, in broad daylight. He was in East Palo Alto and someone tried to rob him, and he resisted and he was killed. I believe a reverend witnessed it and called 911.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933590","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>You mentioned Star Records; what were your other local music haunts back then? Describe for us what that bygone era was like for you.\u003c/strong>\u003c/p>\n\u003cp>In the late ’70s, there was a store called Wheatstraw Records that was close to Olivera Egg Ranch, where the 45s were only a dollar. Star Records was around back then too, and was really the main one in San Jose because they specialized in all styles of dance music — funk, soul, disco, electro, rap, freestyle, Hi-NRG, new wave. There was also Leopold’s across the street from Eastridge, where the 12” singles were $3.89 instead of $4.99, like everywhere else. And the San Jose Flea Market used to carry mixtapes and bootleg cut-up records, which were basically megamixes made by DJs on multi-track tapes pressed onto vinyl. Some of them had scratching too. By the late ’80s, Tower Records in San Francisco was the only store we knew that carried \u003cem>Ultimate Breaks & Beats\u003c/em>, and that was a huge deal. But yeah, overall, Star Records was the best.\u003c/p>\n\u003cfigure id=\"attachment_13939820\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg\" alt=\"\" width=\"1920\" height=\"1810\" class=\"size-full wp-image-13939820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--800x754.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1020x962.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--768x724.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1984-Hard-Times-mixtape--1536x1448.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An electro mixtape made by Chris in 1984. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell us about your decision to move to Los Angeles. What did you encounter there that perhaps San Jose lacked? \u003c/strong>\u003c/p>\n\u003cp>I actually first left San Jose in 1987, to go to college in Long Beach. I had been going to Newport Beach every summer for week or two with my friend Steve and his family, and I fell in love with it. I always wanted to move to Southern California, but it seemed more like a dream I’d never follow through with. After a year in Long Beach, I got homesick and moved back, but I loved that they had a radio station that played hip-hop 24 hours a day. I moved from San Jose to San Mateo in 1995 to be closer to TRC Distributors as the head of their hip-hop department, and then I started Stones Throw in 1996 in San Mateo. I moved to San Francisco a couple years later and stayed there until moving to L.A. in around 2001.\u003c/p>\n\u003cp>Stones Throw was pretty much strictly hip-hop when I moved to L.A., but I did sprinkle in some other stuff. With time, I started putting out more and more funk, soul, electronic, jazz and post punk. But one of the main reasons I moved to L.A. was to be closer to Madlib, who lived in Santa Barbara at the time. When I moved to L.A., I basically brought him with me. But yeah, I loved the DJ and club scene and live music scene in L.A. as well. I found myself DJing there a lot when I lived in San Francisco, and they really embraced me at clubs like the Root Down, Firecracker, and some others.\u003c/p>\n\u003cfigure id=\"attachment_13939828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg\" alt=\"\" width=\"1920\" height=\"1395\" class=\"size-full wp-image-13939828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/1996-STH-logos-second-round-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second round of logos by Matthew Clark, including the one chosen to be ‘official,’ 1996. \u003ccite>(Courtesy of Peanut Butter Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In general, what do you think people should know about San Jose’s early rap history? Are there any misconceived notions of San Jose’s early rap scene that people should know about?\u003c/strong>\u003c/p>\n\u003cp>San Jose was \u003cem>not\u003c/em> a hip-hop city in the ’80s. It was hard to hear the music in clubs, record stores and radio stations until the ’90s. But the scarcity of it made the few of us who were freaks for it try harder to find it. I bought a lot of scarce hip-hop 12” records in the 99¢ bin at Star Records. The labels would send Star a promo, and they would pass on ordering it, and they’d sell the promo in the 99¢ bin. I went there every week to grab those before anybody else did, and made mixtapes with the hardcore New York rap for my high school. Kevvy Kev played it once a week from 6-9 p.m. and if you didn’t make it a priority to hear it, you had to wait another week. That was our hip-hop experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s","authors":["byline_arts_13939767"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_21713","arts_10278","arts_831","arts_1084","arts_19347","arts_21711"],"featImg":"arts_13939829","label":"source_arts_13939767","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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