KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation. Who We Are
A South San Francisco Rapper Turned His Sneaker Collection Into an Album
Each collectible pair of Nikes tells a story on JustPaulNow’s ‘Swoosh Pack.’
How Alma Landeta Holds a Mirror Up to Queer Experiences
Palo Alto’s 2024 King Artist in Residence wants people to feel good about how they’re portrayed.
Review: Festival Napa Valley Opens With a Recital Among the Vineyards
Soprano Pretty Yende, tenor Jonathan Tetelman and composer Yang Bao opened the festival in a remarkably casual, accessible setting.
Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms
Colombian luminaries Vilma Diaz y La Sonora join La Doña and El Feeling for a stacked outdoor concert.
Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon
A 12-year-old boy finds out he's the reincarnation of a murdered Egyptian prince. Mummies arrive. High jinks ensue. Ah, the ’90s.
‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison
Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.
Tall Tee’s Sun-Drenched Summer Funk
After years of building up hype through word of mouth, the duo arrives with their debut album, 'Talk to Me.'
Funding for KQED Arts & Culture is provided by:
The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED.
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Get daily Arts & Culture updates by following us on \u003ca href=\"https://www.instagram.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.kqed.org/arts/13883176/hey-bay-area-have-a-story-to-share-we-want-to-listen\" target=\"_blank\" rel=\"noopener noreferrer\">contact us\u003c/a>."},"innerBlocks":[],"innerHTML":"\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n","innerContent":["\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n"]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts/?tag=thedolist&queryId=223a5b6d5c","title":"The Do List","sectionUrl":"/thedolist","buttonText":"More from The Do List"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts/bayareabites,arts,food?category=food&queryId=e0165e7aeb","title":"Food","sectionUrl":"/food","buttonText":"More from Food"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/ad","attrs":{"adType":"inHouse"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardsRecent","query":"posts/arts?tag=tmw-latest&queryId=6d55c2e8b9","title":"That’s My Word","sectionUrl":"/bayareahiphop","buttonText":"More Bay Area Hip Hop"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/section-overview","attrs":{"html":"KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation.\u003cbr />\u003ca href=\"/arts/staff\">Who We Are\u003c/a>"},"innerBlocks":[],"innerHTML":"\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n","innerContent":["\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n"]},{"blockName":"kqed/ad","attrs":[],"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts?tag=rebelgirls&queryId=c04ca3fbec","title":"Rebel Girls From Bay Area History","sectionUrl":"/rebelgirls","buttonText":"More about Rebel Girls From Bay Area History"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardTextHeavyLarge","query":"posts/arts?&queryId=b5bc3b886f","title":"More Arts","seeMore":true},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/funding-credits","attrs":{"text":"Funding for KQED Arts & Culture is provided by:\u003cbr>\u003cbr>The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED."},"innerBlocks":[],"innerHTML":"","innerContent":[]}],"status":"publish","parent":0,"modified":1717181537,"format":"standard","path":"/arts","redirect":{"type":"internal","url":"/arts"},"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"wp-block-kqed-header\">\u003c/div>\n\n\n\n\u003cdiv class=\"wp-block-kqed-columns\">\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\n\n\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\u003c/div>\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"label":"root-site","isLoading":false}},"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_13961177":{"type":"posts","id":"arts_13961177","meta":{"index":"posts_1716263798","site":"arts","id":"13961177","score":null,"sort":[1721142011000]},"guestAuthors":[],"slug":"alma-landeta-palo-alto-king-artist-residency-queer-portraits","title":"How Alma Landeta Holds a Mirror Up to Queer Experiences","publishDate":1721142011,"format":"standard","headTitle":"How Alma Landeta Holds a Mirror Up to Queer Experiences | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Before applying to Palo Alto’s King Artist Residency, \u003ca href=\"https://studiolandeta.com/\">Alma Landeta\u003c/a> researched the state of mental health in the city, specifically among queer people. The findings alarmed them. \u003c/p>\n\u003cp>“The statistics from a 2019 report were something like 25% of LGBTQAI+ individuals in Palo Alto had had some suicidal ideations, and it went up to closer to 50% for those who identified as trans,” Landeta remembers. “It’s startling and deeply upsetting.” \u003c/p>\n\u003cp>Landeta grew up in Tampa, Florida and always thought of the Bay Area as a refuge. “A part of me was a little surprised,” they say. “I guess I thought those numbers would be lower here.”\u003c/p>\n\u003cp>In their winning application for the \u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Public-Art-Program/King-Artist-Residency\">year-long residency\u003c/a>, Landeta proposed a portrait project in which the artist would work collaboratively with their subjects. In all their work, Landeta wants to provide mirrors for queer people to see themselves — and for the rest of the world to see them as well. That’s why their portraits, though identifiable to sitters, are somewhat abstract, so that viewers can project their own lives and experiences onto each artwork. \u003c/p>\n\u003cfigure id=\"attachment_13960596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg\" alt=\"\" width=\"2000\" height=\"1396\" class=\"size-full wp-image-13960596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1536x1072.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1920x1340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June, in the plain, white studio in the Cubberley Community Center, which they had recently started using as part of the residency, some examples of those portraits hung on the walls. Landeta’s process is careful. They check in with their sitters often, before, during and at the end of the session, making people feel comfortable with how they’re being portrayed. Sometimes, they say, a sitter will ask for small adjustments: lips more defined, a jawline less pronounced. Finally, Landeta has their sitters title the artwork. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since painting a mural for the San Francisco LGBT Center in 2023 titled \u003cem>\u003ca href=\"https://www.instagram.com/p/CvIMla_xtlS/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Joy is the Fuel\u003c/a>\u003c/em>, Landeta says they have been wanting to express more joy in their work. It’s part of why they take the collaborative process so seriously; Landeta wants people to feel good about how they’re portrayed. \u003c/p>\n\u003cp>As the 2024 Dr. Martin Luther King Jr. & Coretta Scott King artist in residence, Landeta has, along with the free studio, a stipend from the city, and will do an installation at King Plaza in front of Palo Alto City Hall at the end of the year. Landeta is the third artist to participate in the residency program, which focuses on equity and belonging. \u003c/p>\n\u003cp>In May, they started the \u003ca href=\"https://www.instagram.com/alma.landeta/reel/C8pqrGBSrYQ/\">Queeries Hotline\u003c/a>, which people are invited to call and leave a story. Landeta says the retro nature of voicemails tickles them, and they are thinking of using some of the audio in the installation at the end of the year. \u003c/p>\n\u003cfigure id=\"attachment_13960593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As part of Landeta’s research phase for the residency, they started a hotline where individuals who identify as LGBTQAI+ call and talk about their stories. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The prompt is ‘What is something you would want residents of Palo Alto to know about your experiences as an LGBTQAI + person of this community,’” Landeta says. “There’s a lot of beauty and a lot of joy in these stories as well as a lot of hardships. There are a lot of ways folks are still not feeling safe to be out and open, and that’s heartbreaking.”\u003c/p>\n\u003cp>In-person events are providing Landeta with opportunities to further connect with people in Palo Alto. In June, they hosted an open studio event, and a free community portrait workshop at the Mitchell Park Library. Landeta has linked up with Avenidas, a senior center that welcomes all communities. They participated in a Pride event there with \u003ca href=\"https://atmospherepress.com/books/run-my-story-of-lgbtq-political-power-equality-and-acceptance-in-silicon-valley-by-ken-yeager-ph-d/\">Ken Yeager\u003c/a>, one of the first openly gay political leaders in Silicon Valley, who served on the Santa Clara County Board of Supervisors.\u003c/p>\n\u003cp>“He was instrumental in making a lot of change happen, and I got to hear from him and other people in the room who had lived here and grown up here,” Landeta says of the senior center event. “There were some folks who had only recently come out, and they’re in their 60s and 70s.”\u003c/p>\n\u003cfigure id=\"attachment_13960597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta holds a photo from the 2022 documentary ‘Queer Silicon Valley.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Avenidas, Landeta stayed after the panel to have lunch with attendees, inviting them to visit the studio and sit for a portrait if interested. At the library, Landeta led an hour-long workshop where the participants made portraits with Sharpies, which they took home. \u003c/p>\n\u003cp>“There were a few folks who came up to me at the end of the workshop and just wanted to share, ‘Hey, I’m trans,’ or ‘Hey, I’m gay,’” Landeta says. “I had one woman who was so sweet. She was wearing this rainbow jewel necklace, and she held it up to me, and she kind of was whispering, ‘I’m an ally.’” Like, ‘OK, yes, we love the allies, say it loud and proud!’”\u003c/p>\n\u003cp>Landeta’s ability to connect with people is part of why they were chosen for this residency, says Elise DeMarzo, director of Palo Alto’s public art program. \u003c/p>\n\u003cp>“Alma is so relatable and approachable,” DeMarzo says. “In the interview and presentation, they engaged everyone right off the bat with a drawing exercise. They put everyone at ease with their warmth.” \u003c/p>\n\u003cfigure id=\"attachment_13960595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait Landeta made a few weeks ago, center, is displayed in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landeta, a high school art teacher, is skilled at drawing people out, and their collaborative approach comes out of a genuine desire to make others feel included. Meanwhile, their art is entering ever-more formal contexts. Currently, they have work on view in \u003ci>\u003ca href=\"https://www.bmoa.org/exhibits/resonantly-me-queer-artist-invitational\">Resonantly Me: A Queer Artist’s Invitational\u003c/a>\u003c/i> at the Bakersfield Museum of Art, up through Sept. 7, 2024. With curator Victor Gonzales, Landeta chose two portraits — one of someone from San Francisco’s Transgender District office, and a self-portrait Landeta did right before undergoing gender affirming surgery.\u003c/p>\n\u003cp>Gonzales says he’s long admired Landeta’s work. \u003c/p>\n\u003cp>“It’s really about owning your own body and being able to be expressive and comfortable when you’re finally who you really are,” he says. “That’s what I want to come from those two works. Just be yourself, honestly.”\u003c/p>\n\u003cp>Landeta says Bakersfield’s conservative character reminds them of Tampa. With \u003cem>Resonantly Me\u003c/em>, they get to be part of a show they would have enjoyed seeing growing up. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I get to bring this to a place where I know there is some closeted queer youth who will just see this and have a ‘Whoa, I don’t know what I’m looking at, but I know what I’m looking at,’ kind of feeling,” Landeta says. “I certainly had that at different points, and I wish I would have had way more of it.”\u003c/p>\n\n","blocks":[],"excerpt":"Palo Alto’s 2024 King Artist in Residence wants people to feel good about how they’re portrayed.","status":"publish","parent":0,"modified":1721088334,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1204},"headData":{"title":"How Alma Landeta Holds a Mirror Up to Queer Experiences | KQED","description":"Palo Alto’s 2024 King Artist in Residence wants people to feel good about how they’re portrayed.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Alma Landeta Holds a Mirror Up to Queer Experiences","datePublished":"2024-07-16T08:00:11-07:00","dateModified":"2024-07-15T17:05:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Emily Wilson","nprStoryId":"kqed-13961177","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961177/alma-landeta-palo-alto-king-artist-residency-queer-portraits","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before applying to Palo Alto’s King Artist Residency, \u003ca href=\"https://studiolandeta.com/\">Alma Landeta\u003c/a> researched the state of mental health in the city, specifically among queer people. The findings alarmed them. \u003c/p>\n\u003cp>“The statistics from a 2019 report were something like 25% of LGBTQAI+ individuals in Palo Alto had had some suicidal ideations, and it went up to closer to 50% for those who identified as trans,” Landeta remembers. “It’s startling and deeply upsetting.” \u003c/p>\n\u003cp>Landeta grew up in Tampa, Florida and always thought of the Bay Area as a refuge. “A part of me was a little surprised,” they say. “I guess I thought those numbers would be lower here.”\u003c/p>\n\u003cp>In their winning application for the \u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Public-Art-Program/King-Artist-Residency\">year-long residency\u003c/a>, Landeta proposed a portrait project in which the artist would work collaboratively with their subjects. In all their work, Landeta wants to provide mirrors for queer people to see themselves — and for the rest of the world to see them as well. That’s why their portraits, though identifiable to sitters, are somewhat abstract, so that viewers can project their own lives and experiences onto each artwork. \u003c/p>\n\u003cfigure id=\"attachment_13960596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg\" alt=\"\" width=\"2000\" height=\"1396\" class=\"size-full wp-image-13960596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1536x1072.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1920x1340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June, in the plain, white studio in the Cubberley Community Center, which they had recently started using as part of the residency, some examples of those portraits hung on the walls. Landeta’s process is careful. They check in with their sitters often, before, during and at the end of the session, making people feel comfortable with how they’re being portrayed. Sometimes, they say, a sitter will ask for small adjustments: lips more defined, a jawline less pronounced. Finally, Landeta has their sitters title the artwork. \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>Since painting a mural for the San Francisco LGBT Center in 2023 titled \u003cem>\u003ca href=\"https://www.instagram.com/p/CvIMla_xtlS/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Joy is the Fuel\u003c/a>\u003c/em>, Landeta says they have been wanting to express more joy in their work. It’s part of why they take the collaborative process so seriously; Landeta wants people to feel good about how they’re portrayed. \u003c/p>\n\u003cp>As the 2024 Dr. Martin Luther King Jr. & Coretta Scott King artist in residence, Landeta has, along with the free studio, a stipend from the city, and will do an installation at King Plaza in front of Palo Alto City Hall at the end of the year. Landeta is the third artist to participate in the residency program, which focuses on equity and belonging. \u003c/p>\n\u003cp>In May, they started the \u003ca href=\"https://www.instagram.com/alma.landeta/reel/C8pqrGBSrYQ/\">Queeries Hotline\u003c/a>, which people are invited to call and leave a story. Landeta says the retro nature of voicemails tickles them, and they are thinking of using some of the audio in the installation at the end of the year. \u003c/p>\n\u003cfigure id=\"attachment_13960593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As part of Landeta’s research phase for the residency, they started a hotline where individuals who identify as LGBTQAI+ call and talk about their stories. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The prompt is ‘What is something you would want residents of Palo Alto to know about your experiences as an LGBTQAI + person of this community,’” Landeta says. “There’s a lot of beauty and a lot of joy in these stories as well as a lot of hardships. There are a lot of ways folks are still not feeling safe to be out and open, and that’s heartbreaking.”\u003c/p>\n\u003cp>In-person events are providing Landeta with opportunities to further connect with people in Palo Alto. In June, they hosted an open studio event, and a free community portrait workshop at the Mitchell Park Library. Landeta has linked up with Avenidas, a senior center that welcomes all communities. They participated in a Pride event there with \u003ca href=\"https://atmospherepress.com/books/run-my-story-of-lgbtq-political-power-equality-and-acceptance-in-silicon-valley-by-ken-yeager-ph-d/\">Ken Yeager\u003c/a>, one of the first openly gay political leaders in Silicon Valley, who served on the Santa Clara County Board of Supervisors.\u003c/p>\n\u003cp>“He was instrumental in making a lot of change happen, and I got to hear from him and other people in the room who had lived here and grown up here,” Landeta says of the senior center event. “There were some folks who had only recently come out, and they’re in their 60s and 70s.”\u003c/p>\n\u003cfigure id=\"attachment_13960597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta holds a photo from the 2022 documentary ‘Queer Silicon Valley.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Avenidas, Landeta stayed after the panel to have lunch with attendees, inviting them to visit the studio and sit for a portrait if interested. At the library, Landeta led an hour-long workshop where the participants made portraits with Sharpies, which they took home. \u003c/p>\n\u003cp>“There were a few folks who came up to me at the end of the workshop and just wanted to share, ‘Hey, I’m trans,’ or ‘Hey, I’m gay,’” Landeta says. “I had one woman who was so sweet. She was wearing this rainbow jewel necklace, and she held it up to me, and she kind of was whispering, ‘I’m an ally.’” Like, ‘OK, yes, we love the allies, say it loud and proud!’”\u003c/p>\n\u003cp>Landeta’s ability to connect with people is part of why they were chosen for this residency, says Elise DeMarzo, director of Palo Alto’s public art program. \u003c/p>\n\u003cp>“Alma is so relatable and approachable,” DeMarzo says. “In the interview and presentation, they engaged everyone right off the bat with a drawing exercise. They put everyone at ease with their warmth.” \u003c/p>\n\u003cfigure id=\"attachment_13960595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait Landeta made a few weeks ago, center, is displayed in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landeta, a high school art teacher, is skilled at drawing people out, and their collaborative approach comes out of a genuine desire to make others feel included. Meanwhile, their art is entering ever-more formal contexts. Currently, they have work on view in \u003ci>\u003ca href=\"https://www.bmoa.org/exhibits/resonantly-me-queer-artist-invitational\">Resonantly Me: A Queer Artist’s Invitational\u003c/a>\u003c/i> at the Bakersfield Museum of Art, up through Sept. 7, 2024. With curator Victor Gonzales, Landeta chose two portraits — one of someone from San Francisco’s Transgender District office, and a self-portrait Landeta did right before undergoing gender affirming surgery.\u003c/p>\n\u003cp>Gonzales says he’s long admired Landeta’s work. \u003c/p>\n\u003cp>“It’s really about owning your own body and being able to be expressive and comfortable when you’re finally who you really are,” he says. “That’s what I want to come from those two works. Just be yourself, honestly.”\u003c/p>\n\u003cp>Landeta says Bakersfield’s conservative character reminds them of Tampa. With \u003cem>Resonantly Me\u003c/em>, they get to be part of a show they would have enjoyed seeing growing up. \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>“I get to bring this to a place where I know there is some closeted queer youth who will just see this and have a ‘Whoa, I don’t know what I’m looking at, but I know what I’m looking at,’ kind of feeling,” Landeta says. “I certainly had that at different points, and I wish I would have had way more of it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961177/alma-landeta-palo-alto-king-artist-residency-queer-portraits","authors":["byline_arts_13961177"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1315","arts_901"],"featImg":"arts_13960594","label":"arts"},"arts_13960754":{"type":"posts","id":"arts_13960754","meta":{"index":"posts_1716263798","site":"arts","id":"13960754","score":null,"sort":[1721151912000]},"guestAuthors":[],"slug":"justpaulnow-swoosh-pack","title":"A South San Francisco Rapper Turned His Sneaker Collection Into an Album","publishDate":1721151912,"format":"standard","headTitle":"A South San Francisco Rapper Turned His Sneaker Collection Into an Album | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up in the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LLJdIK6PAbM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched it all into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper Fredo Algebra and Frisco spitter J-Billion.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a collaboration with Charles “CeeRock” Ubungen, Solis’ longtime family friend and sound engineer who occasionally raps. \u003c/span>It’s not the duo’s first rodeo, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “Hat Chat” with \u003c/span>\u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the latest New York Knicks-colored Foamposites and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuSyl115XII\u003c/p>\n\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” [aside postid='arts_13961014']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Each collectible pair of Nikes tells a story on JustPaulNow’s ‘Swoosh Pack.’","status":"publish","parent":0,"modified":1721152297,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1032},"headData":{"title":"A South San Francisco Rapper Turned His Sneaker Collection Into an Album | KQED","description":"Each collectible pair of Nikes tells a story on JustPaulNow’s ‘Swoosh Pack.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A South San Francisco Rapper Turned His Sneaker Collection Into an Album","datePublished":"2024-07-16T10:45:12-07:00","dateModified":"2024-07-16T10:51:37-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960754","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960754/justpaulnow-swoosh-pack","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up in the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LLJdIK6PAbM'\n title='//www.youtube.com/embed/LLJdIK6PAbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched it all into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper Fredo Algebra and Frisco spitter J-Billion.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a collaboration with Charles “CeeRock” Ubungen, Solis’ longtime family friend and sound engineer who occasionally raps. \u003c/span>It’s not the duo’s first rodeo, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “Hat Chat” with \u003c/span>\u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the latest New York Knicks-colored Foamposites and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XuSyl115XII'\n title='//www.youtube.com/embed/XuSyl115XII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961014","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960754/justpaulnow-swoosh-pack","authors":["11748"],"categories":["arts_1"],"tags":["arts_8505","arts_5397","arts_2854","arts_1696","arts_2855","arts_1176","arts_1146"],"featImg":"arts_13960757","label":"arts"},"arts_13961151":{"type":"posts","id":"arts_13961151","meta":{"index":"posts_1716263798","site":"arts","id":"13961151","score":null,"sort":[1721080917000]},"guestAuthors":[],"slug":"review-festival-napa-valley-pretty-yende-jonathan-tetelman-yang-bao-charles-krug","title":"Review: Festival Napa Valley Opens With a Recital Among the Vineyards","publishDate":1721080917,"format":"standard","headTitle":"Review: Festival Napa Valley Opens With a Recital Among the Vineyards | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On Friday night, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. If you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics on Friday was matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened the set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a major donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amarosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Soprano Pretty Yende, tenor Jonathan Tetelman and composer Yang Bao opened the festival in a remarkably casual, accessible setting. ","status":"publish","parent":0,"modified":1721095326,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":808},"headData":{"title":"Review: Festival Napa Valley Opens With a Recital Among the Vineyards | KQED","description":"Soprano Pretty Yende, tenor Jonathan Tetelman and composer Yang Bao opened the festival in a remarkably casual, accessible setting. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Review: Festival Napa Valley Opens With a Recital Among the Vineyards","datePublished":"2024-07-15T15:01:57-07:00","dateModified":"2024-07-15T19:02:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961151","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961151/review-festival-napa-valley-pretty-yende-jonathan-tetelman-yang-bao-charles-krug","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. If you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics on Friday was matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened the set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \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>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a major donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amarosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961151/review-festival-napa-valley-pretty-yende-jonathan-tetelman-yang-bao-charles-krug","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1312","arts_10278","arts_22076","arts_763","arts_769"],"featImg":"arts_13961164","label":"arts_140"},"arts_13961122":{"type":"posts","id":"arts_13961122","meta":{"index":"posts_1716263798","site":"arts","id":"13961122","score":null,"sort":[1721076971000]},"guestAuthors":[],"slug":"cumbia-frost-amphitheater-la-dona-vilma-diaz-y-la-sonora-el-feeling","title":"Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms","publishDate":1721076971,"format":"standard","headTitle":"Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PSMrMHLjf4\u003c/p>\n\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X_FZE8vblJE\u003c/p>\n\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” [aside postid='arts_13900272']\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxs1uvPVqzs\u003c/p>\n\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” [aside postid='arts_13961014']\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Colombian luminaries Vilma Diaz y La Sonora join La Doña and El Feeling for a stacked outdoor concert. ","status":"publish","parent":0,"modified":1721077183,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":992},"headData":{"title":"Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms | KQED","description":"Colombian luminaries Vilma Diaz y La Sonora join La Doña and El Feeling for a stacked outdoor concert. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms","datePublished":"2024-07-15T13:56:11-07:00","dateModified":"2024-07-15T13:59:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961122","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961122/cumbia-frost-amphitheater-la-dona-vilma-diaz-y-la-sonora-el-feeling","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\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/4PSMrMHLjf4'\n title='//www.youtube.com/embed/4PSMrMHLjf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\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>\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/X_FZE8vblJE'\n title='//www.youtube.com/embed/X_FZE8vblJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13900272","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\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/pxs1uvPVqzs'\n title='//www.youtube.com/embed/pxs1uvPVqzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961014","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961122/cumbia-frost-amphitheater-la-dona-vilma-diaz-y-la-sonora-el-feeling","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_2519","arts_2265","arts_585"],"featImg":"arts_13935418","label":"arts_140"},"arts_13961113":{"type":"posts","id":"arts_13961113","meta":{"index":"posts_1716263798","site":"arts","id":"13961113","score":null,"sort":[1721072003000]},"guestAuthors":[],"slug":"mummies-alive-90s-cartoon-san-francisco-where-to-watch","title":"Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon","publishDate":1721072003,"format":"standard","headTitle":"Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7C0arR310g\u003c/p>\n\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=esHLWel4lMg\u003c/p>\n\n","blocks":[],"excerpt":"A 12-year-old boy finds out he's the reincarnation of a murdered Egyptian prince. Mummies arrive. High jinks ensue. Ah, the ’90s.","status":"publish","parent":0,"modified":1721072003,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":628},"headData":{"title":"Watch: ‘Mummies Alive!’ — a ’90s Cartoon About Mummies in SF | KQED","description":"A 12-year-old boy finds out he's the reincarnation of a murdered Egyptian prince. Mummies arrive. High jinks ensue. Ah, the ’90s.","ogTitle":"Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon","ogDescription":"","ogImgId":"","twTitle":"Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon","twDescription":"","twImgId":"","socialTitle":"Watch: ‘Mummies Alive!’ — a ’90s Cartoon About Mummies in SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon","datePublished":"2024-07-15T12:33:23-07:00","dateModified":"2024-07-15T12:33:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961113","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961113/mummies-alive-90s-cartoon-san-francisco-where-to-watch","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\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/p7C0arR310g'\n title='//www.youtube.com/embed/p7C0arR310g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\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>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\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/esHLWel4lMg'\n title='//www.youtube.com/embed/esHLWel4lMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961113/mummies-alive-90s-cartoon-san-francisco-where-to-watch","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_75","arts_990"],"tags":["arts_8054","arts_4262","arts_8086","arts_585"],"featImg":"arts_13961118","label":"arts_140"},"news_11993783":{"type":"posts","id":"news_11993783","meta":{"index":"posts_1716263798","site":"news","id":"11993783","score":null,"sort":[1721053854000]},"guestAuthors":[],"slug":"paris-2024-olympic-games-san-francisco-bay-area-athletes-competing","title":"Bay Area Athletes to Watch at the Paris 2024 Olympic Games","publishDate":1721053854,"format":"standard","headTitle":"Bay Area Athletes to Watch at the Paris 2024 Olympic Games | KQED","labelTerm":{"site":"news"},"content":"\u003cp>The Paris Olympics is almost upon us and with over 10,000 athletes competing in 32 sports, it can be tough to know what to watch and who to root for. In the interest of narrowing down your viewing options, here then are the incredible Bay Area athletes who’ll be competing in Paris.\u003c/p>\n\u003ch2>Artistic Swimming\u003c/h2>\n\u003cp>\u003cstrong>Jacklyn Luu\u003c/strong> hails from Milpitas, is a graduate student at Stanford University and a proud, second-generation Vietnamese American. She can also — like the rest of her artistic swimming team — hold her breath underwater for a frighteningly long time. This is one of the most captivating sports of the Summer Olympics, and this is the first year the U.S. women’s team has made it to the team event since 2008. Go, Jacklyn!\u003c/p>\n\u003cfigure id=\"attachment_11993805\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/twins-badminton-scaled-e1720808610530.jpg\" alt=\"Two young women of Asian descent stand smiling together, holding up medals and commemorative toys.\" width=\"1920\" height=\"1278\">\u003cfigcaption class=\"wp-caption-text\">Twins and badminton partners Annie Xu (left) and Kerry Xu pose with their silver medals after the women’s doubles final event of the 2023 Pan American Games in Santiago. \u003ccite>(PABLO VERA/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Badminton\u003c/h2>\n\u003cp>Imagine being the parent of an Olympian. The pride! The awe! The near-constant desire to smugly point at your perfectly formed offspring and say, “Look what I made!” Now imagine being the parents of 24-year-old twin sisters \u003cstrong>Kerry and Annie Xu\u003c/strong>. These San José-born, UC Berkeley graduates will be playing as a doubles team, having taken up badminton at the age of 8. Their friends at Milpitas’ Bay Badminton Club, where they’ve been training for the last 14 years, will be cheering them on every step of the way — just probably not as loudly as their parents.\u003c/p>\n\u003cp>The twins aren’t the Bay’s only badminton talent heading to Paris. Fremont’s \u003cstrong>Jennie Gai\u003c/strong> and Foster City’s \u003cstrong>Joshua Yuan\u003c/strong> will also be hitting the courts. Yuan has openly admitted that when he first started playing at South San Francisco’s Bay Badminton Center, he “didn’t like it, [but] my parents forced me to continue.” Gai also once said that her folks gave her the choice of tennis or badminton, and she landed on the latter because “tennis is too much sun.” Proof positive that wonderful things \u003cem>can\u003c/em> come from forcing your reluctant children to exercise.\u003c/p>\n\u003cfigure id=\"attachment_11948154\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11948154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855.jpg\" alt=\"Basket ball player pumps fist and shouts in victory with crowd behind him.\" width=\"1024\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-160x110.jpg 160w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Curry of the Golden State Warriors celebrates during the third quarter in Game 7 of the Western Conference first-round playoffs against the Sacramento Kings at Golden 1 Center on April 30, 2023, in Sacramento. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basketball\u003c/h2>\n\u003cp>Warriors head coach \u003cstrong>Steve Kerr\u003c/strong> and \u003cstrong>Steph Curry\u003c/strong> are off to Paris. It’ll be Kerr’s second Olympics, having coached at the 2021 Tokyo Games, but Curry’s first time. Grant Hill, managing director of USA Basketball, said Curry was “almost giddy” when he found out he’d make the cut. Show ’em how it’s done, Chef Curry.\u003c/p>\n\u003cp>Hayward’s \u003cstrong>Chelsea Gray\u003c/strong> and Walnut Creek’s \u003cstrong>Sabrina Ionescu\u003c/strong> will be holding things down on the women’s team. Gray already has a gold medal from Tokyo and is probably about to get another — the USA women’s basketball team has won for the last seven consecutive Olympics. Ionescu is a perfect addition to keep that roll going. Last year, she set an NBA record at the annual 3-point competition, scoring 37 out of a potential 40 points.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Decathlon\u003c/h2>\n\u003cp>It takes a special kind of (masochistic?) competitor to choose the decathlon as their sport of choice. After an entire day of sprinting, running, long jump, shot put and high jump competitions, athletes have to roll right on back the next day to run hurdles, throw discus, do pole vault, throw javelins and, oh yes, partake in more running.\u003c/p>\n\u003cp>Keep an eye on \u003cstrong>Harrison Williams\u003c/strong>, a 6-foot-5-inch Stanford graduate who’s competing in his first Olympics. He spent his entire time at Stanford breaking the university’s decathlon records, so fingers crossed he can perform similar feats in Paris.\u003c/p>\n\u003ch2>Discus\u003c/h2>\n\u003cp>Technically, he’s on Team Lithuania, but \u003cstrong>Mykolas Alekna\u003c/strong> will be repping UC Berkeley at the 2024 Games, too. The psychology student is already a well-known athlete in his home country, but his profile is rising across the U.S. because of the low-key manner in which he keeps performing extraordinary feats.\u003c/p>\n\u003cp>In April, Alekna broke the oldest world record in track and field when he threw the discus nearly 244 feet. Needless to say, Alekna’s gold prospects are pretty solid — especially when you consider that his dad, Virgilijus Alekna, won gold medals for discus throwing at both the Sydney 2000 and Athens 2004 Olympics.\u003c/p>\n\u003cfigure id=\"attachment_11993809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/fencing-scaled-e1720808587710.jpg\" alt=\"A man wearing fencing gear sits on a log in a wooded area. He is smiling and casually holding a foil.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Alexander Massialas in San Francisco, May 2020. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fencing\u003c/h2>\n\u003cp>Like Mykolas Alekna, \u003cstrong>Alexander Massialas\u003c/strong> had some sizable shoes to fill — his father, Greg, was on the American fencing teams that competed in the 1984 and 1988 Olympic Games. Also like Alekna, Massialas — born and raised in San Francisco — is not struggling to keep up with his talented pop. The Stanford University graduate is already in possession of three Olympic medals — a silver he won in 2016 and two bronzes he earned as part of the men’s fencing team in 2016 and 2021.\u003c/p>\n\u003cp>One of Massialas’ most notable teammates from those last two games is \u003cstrong>Gerek Meinhardt\u003c/strong>, who, in 2008, became the youngest athlete to ever compete on a U.S. Olympic fencing team. Raised in San Francisco, Meinhardt found his love of fencing early in life and via a family friend who coached the sport. That coach? None other than Greg Massialas.\u003c/p>\n\u003ch2>Gymnastics\u003c/h2>\n\u003cp>Stanford University sophomore \u003cstrong>Asher Hong \u003c/strong>is heading to Paris in search of gold this month, having placed first on rings in the Olympic trials. And it’s no wonder — head to \u003ca href=\"https://www.instagram.com/p/C9L6DYZumnV/?hl=en\">Hong’s Instagram page\u003c/a> to see some of his truly astonishing physical feats. The 20-year-old will be accompanied by fellow Stanford gymnast \u003cstrong>Khoi Young\u003c/strong> who’ll be acting as an alternate for the U.S. team.\u003c/p>\n\u003ch2>Hammer Throwing\u003c/h2>\n\u003cp>UC Berkeley graduate \u003cstrong>Camryn Rogers\u003c/strong> will be spinning at high speeds and hurling hammers with her trademark strength and precision for Team Canada. You’ll want to root for her anyway — Rogers is the reigning world champion, has a day job working as a special education advocate, and considers her fellow Cal athletes as a second family. The \u003cem>San Francisco Chronicle\u003c/em> once called her “the Stephen Curry of her sport — dominant and engaging and likable.” Rogers is someone you can’t help but cheer for.\u003c/p>\n\u003cfigure id=\"attachment_11993810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Daniela-M-scaled-e1720808561524.jpg\" alt=\"A tanned woman kite boarding in open water.\" width=\"1920\" height=\"1187\">\u003cfigcaption class=\"wp-caption-text\">Daniela Moroz during day 4 of the Paris 2024 sailing test event in Marseille. \u003ccite>(Clive Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kiteboarding\u003c/h2>\n\u003cp>For those wondering if there’s a more peculiar Olympic activity than hammer throwing, the answer to that might be kiteboarding. After all, this sport involves humans strapping small boards to their feet, large sails to their bodies, and then throwing themselves at bodies of water. One of those humans is \u003cstrong>Daniela Moroz\u003c/strong> from Lafayette, a six-time Formula Kite World Champion who won her first at the age of 15. This is the first year that kiteboarding has been included in the Olympics, and Moroz is thrilled to face the new level of competition. “I am ready for the challenge,” she recently stated on \u003ca href=\"https://www.danielamoroz.com/about\">her website\u003c/a>, “and I can’t wait to experience everything that will happen along the way.”\u003c/p>\n\u003ch2>Long Jump\u003c/h2>\n\u003cp>Born and raised in the East Bay, \u003cstrong>Malcolm Clemons\u003c/strong> — a current student at the University of Florida in Gainesville — can’t believe how far he’s come. In a recent \u003ca href=\"https://www.instagram.com/p/C9P7piJujMT/?img_index=1\">Instagram post\u003c/a>, the long jumper wrote: “From a kid with big dreams in East Oakland, California to an Olympian — what a journey. I thank God for everything. Thank you to my family for all the love and support and to everyone in my village who believed in me.”\u003c/p>\n\u003cfigure id=\"attachment_11993814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Okeefe-scaled-e1720808653971.jpg\" alt=\"A female marathon runner smiles broadly with her arms outstretched, partially wrapped in an American flag. She has a patch of blood on the front of her shirt.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Fiona O’Keeffe smiles after placing first during the 2024 US Olympic Team Trials in Florida last February. \u003ccite>(Mike Ehrmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marathon\u003c/h2>\n\u003cp>Long-distance runner \u003cstrong>Fiona O’Keeffe\u003c/strong> hails from Davis, graduated from Stanford, and qualified for this year’s Olympics in record time. The fact that the Olympic trial was her first ever professionally run marathon? No biggie, apparently. “There was some level of fear of the unknown,” O’Keeffe told NBC. “But I was really excited to just go run the marathon and see what I could do.”\u003c/p>\n\u003cp>When O’Keefe crossed the finish line \u003ca href=\"https://twitter.com/CitiusMag/status/1754617970481885495\">bleeding through her track top\u003c/a>, she took it with characteristic stoicism. “Yes, the red stuff on my bib was blood,” \u003ca href=\"https://www.instagram.com/fiona_okeeffe/p/C2-7w6-LeGf/?img_index=2\">she later explained on Instagram\u003c/a>. “[I] made the rookie move of stashing a gel in my sports bra and proceeding to drench myself with water on the course, resulting in a little chafing situation.”\u003c/p>\n\u003ch2>Rowing\u003c/h2>\n\u003cp>\u003cstrong>Ben Davison\u003c/strong> has been based in Oakland since 2019 and trains with the \u003ca href=\"https://www.californiarowingclub.com/about\">California Rowing Club\u003c/a>. This will be his second Olympic competition, having competed in the U.S. Men’s 8+ in Tokyo in 2021. He’ll be cheered on by the many rowers he trains as an assistant coach at the Oakland Strokes rowing club.\u003c/p>\n\u003cp>Another Oakland-based rower heading to Paris is \u003cstrong>Sorin Koszyk \u003c/strong>who last year won the men’s championship singles race in record time. \u003ca href=\"https://usrowing.org/rosters/2023-senior-national-team/sorin-koszyk\">Koszyk’s U.S. Rowing profile\u003c/a> says, “Sorin enjoys spending time with friends and Jenga.” Someone had better have a tower lined up for him at the end of this.\u003c/p>\n\u003ch2>Skiff\u003c/h2>\n\u003cp>If you’re not a boaty person, you might not yet know what a skiff is. Technically, skiffs are any small, open, flat-bottomed sailboats. In the Olympics, the Men’s and Women’s Skiff category describes humans operating in pairs, hanging off the side of skiffs, going at ludicrously high speeds while operating a series of wires and pulleys. Skiff looks extremely challenging, but try telling that to San Francisco’s \u003cstrong>Hans Henken\u003c/strong>, who’s competing in the Olympics for the very first time. He and teammate Ian Barrows are currently ranked second in the world and are clearly not to be trifled with — especially when you consider Henken has a master’s degree from Stanford in aeronautical and astronautical engineering. That should help move things along quite nicely.\u003c/p>\n\u003cfigure id=\"attachment_11993816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/minna-scaled-e1720808755545.jpg\" alt=\"A teenage girl skateboards the end of a ramp she's about to drop back into.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess skates on day 3 of the Olympic Qualifier Series in Shanghai on May 18, 2024. \u003ccite>(Fred Lee/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skateboarding\u003c/h2>\n\u003cp>Hailing from Petaluma, 18-year-old daredevil \u003cstrong>Minna Stess\u003c/strong> has been throwing herself down unfeasibly giant ramps her whole life. (Literally — she started skating as a toddler.) Egged on by a supportive family who built a mini skatepark in their backyard for her to practice on, Stess has been sponsored by the likes of Vans, Independent Trucks and Santa Cruz Skateboards since she was a pre-teen. “I’ve always been competitive,” she told \u003cem>Teen Vogue\u003c/em> earlier this year. “But I never thought the Olympics would be something that I could be doing. It’s kind of crazy that this is all happening now.”\u003c/p>\n\u003cp>Also repping the Bay from his skateboard is \u003cstrong>Nyjah Huston\u003c/strong>, originally from Davis. Like Stess, Huston was a skateboarding child prodigy, on the X Games circuit by age 11, and now in possession of 13 gold medals from competing in them. He’s also earned six world championship trophies. Huston has long tried to use his platform for good. In 2010, he started a nonprofit called \u003ca href=\"https://letitflow.org/\">Let It Flow\u003c/a> with the hopes of getting clean water to communities in need all over the world.\u003c/p>\n\u003ch2>Soccer\u003c/h2>\n\u003cp>Menlo Park’s \u003cstrong>Tierna Davidson\u003c/strong> and San José’s \u003cstrong>Naomi Girma\u003c/strong> will both be showing off their fancy footwork on the Parisian pitch this summer. Davidson has played for Stanford, won a bronze medal in Tokyo in 2021, and is the youngest on the women’s Olympic soccer team. (She should be used to that by now — she was also the youngest person on the 2019 World Cup women’s team.)\u003c/p>\n\u003cp>Girma, another Stanford graduate, is known as a team player in every sense of the word. She credits her Ethiopian parents — who moved to the U.S. in the early 1980s — with instilling in her strong values and a generous spirit. “Their sacrifices are the only reason I am where I am today,” she recently told NBC Sports. Girma was declared player of the year by the U.S. Women’s National Soccer Team last year because, yes, she’s just that good.\u003c/p>\n\u003ch2>Swimming\u003c/h2>\n\u003cp>The Bay has a healthy number of swimmers at the Paris Olympics this year, but Stanford graduate \u003cstrong>Katie Ledecky\u003c/strong> is undoubtedly the most intimidating. Ledecky has already earned seven Olympic gold medals and another 21 world championship golds. Can anyone beat that? We’re about to find out.\u003c/p>\n\u003cp>UC Berkeley graduates \u003cstrong>Abbey Weitzel\u003c/strong> and \u003cstrong>Ryan Murphy\u003c/strong> will also be swimming in Paris. Weitzel earned two medals (one gold, one silver) at the Rio Olympics in 2016 and another two in Tokyo in 2021 (one silver, one bronze). Murphy has four Olympic golds to his name and, back in 2009, broke a backstroke world record. None of it has gone to his head, though. After marrying his college sweetheart in 2023, Murphy credited his new wife with much of his success. “I think she’s someone who definitely gets me just motivated about life,” Murphy told \u003cem>People\u003c/em> magazine. “She’s super optimistic, and I think that’s just been really helpful for me in terms of my approach to the sport.”\u003c/p>\n\u003cp>\u003cstrong>Evgenii Somov\u003c/strong>, who was born in St. Petersburg, Russia, and moved to Oakland in 2022 after swimming for the University of Louisville, will compete in Paris as an “Individual Neutral Athlete” in the 100-meter breaststroke. Since Russian (and Belarussian) athletes were banned from this year’s Olympics due to the war in Ukraine, Somov has improbably qualified and will race without any state support. Parents of swimmers he’s coached in the Bay Area launched a GoFundMe to help pay for Somov’s expenses, which include his flights and high-tech swimwear. “It comes down to, I either want to go, or I don’t want to go,” he told the \u003ci>San Francisco Chronicle\u003c/i> about his drive to compete. “And I want to go.”\u003c/p>\n\u003ch2>Table Tennis\u003c/h2>\n\u003cp>Redwood City’s \u003cstrong>Lily Zhang\u003c/strong> started her table tennis career as the youngest female on the U.S. women’s team. She was just 12 years old at the time. Zhang, a former UC Berkeley student, was the youngest member of the U.S. team to compete in 2012’s London Olympics and also took part in the 2021 Tokyo Games. She can undoubtedly provide some inspiration to San José’s \u003cstrong>Rachel Sung\u003c/strong>, who is heading to the Olympics for the very first time.\u003c/p>\n\u003cp>\u003cstrong>Kanak Jha\u003c/strong> from Milpitas — who was the U.S. national champion four years in a row (2016–2019) — is also heading to the Olympics, followed by a small cloud of controversy. Jha got hit with a one-year suspension in 2023 for failing three drug tests within 12 months. 2024 will not be Jha’s first Olympics, though. He also competed in 2016 and 2021.\u003c/p>\n\u003cfigure id=\"attachment_11993818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993818\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/CJ-tae-scaled-e1720808823434.jpg\" alt=\"Two men engaged in martial arts. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">CJ Nickolas (left) competes against Miguel Angel Trejos at the Pan American Games in 2022. \u003ccite>(JAVIER TORRES/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taekwondo\u003c/h2>\n\u003cp>The tale of\u003cstrong> Carl “CJ” Nickolas\u003c/strong>’ athletic career is a heartwarming one of family togetherness. Born in Oakland, Nickolas started taekwondo at the age of 3 at the same time his mom Denise took up the sport. Denise’s achievements were impressive — at 43 years old, the fourth-degree black belt won a national championship. That, and her work ethic in general, has provided Nickolas with nonstop inspiration since he was a kid.\u003c/p>\n\u003cp>“That’s where I learned about hard work,” \u003ca href=\"https://www.marinij.com/2024/07/08/how-east-bay-taekwondo-fighter-cj-nickolas-became-a-gold-medal-contender-at-the-paris-olympics/\">he told the \u003cem>Marin Independent Journal\u003c/em>\u003c/a> earlier this year. “I wanted to work harder than her.”\u003c/p>\n\u003cp>Nickolas’ prospects at the Olympics are pretty good. He’s currently ranked number two in his weight class and entering the games focused and confident — just like his mom.\u003c/p>\n\u003ch2>Water Polo\u003c/h2>\n\u003cp>The Bay Area has a ridiculous amount of female talent in the water polo category this year. There’s \u003cstrong>Jewel Roemer\u003c/strong>, who hails from Martinez and competes for Stanford. There are former Stanford students \u003cstrong>Jordan Raney,\u003c/strong> \u003cstrong>Ryann Neushul \u003c/strong>and \u003cstrong>Ella Woodhead \u003c/strong>(who was born and raised in San Anselmo) — all impressive competitors. There’s also San José’s \u003cstrong>Jenna Flynn\u003c/strong>, who earned first place in the 2024 World Aquatics Championships \u003cem>and\u003c/em> the 2023 Pan American Games.\u003c/p>\n\u003cp>Best of all, \u003cstrong>Maggie Steffens\u003c/strong> — yet another Stanford graduate — is heading back to the Olympics with the goal of winning her fourth gold medal. Originally from San Ramon and now living in Danville, Steffens has been a top goal scorer in each of the last three Olympics. What’s more, the team captain has long been a beacon for women’s water polo. One so bright, in fact, she inspired Flavor Flav to step up as the official hype man of U.S. women’s water polo. Back in May, Flav publicly pledged to sponsor Steffens and the whole team, \u003ca href=\"https://x.com/FlavorFlav/status/1786906613971865696\">stating on X\u003c/a>: “The US Women’s Waterpolo team has won the GOLD MEDAL THREE OLYMPICS IN A ROW,,, these women should not have to be working 2-3 side jobs to be able to compete.”\u003c/p>\n\u003cp>Amen to that, Flav.\u003c/p>\n\u003cp>If you’re wondering where the men are, adorable San Anselmo brothers \u003cstrong>Quinn and Dylan Woodhead\u003c/strong> are both heading to Paris, too. “When you can compete with someone out of a place of love and trust,” Dylan recently told NBC Bay Area, “it’s really easy.” Awww.\u003c/p>\n\u003ch2>Wrestling\u003c/h2>\n\u003cp>The Bay is represented by a major contender in women’s wrestling this summer. Born in Walnut Creek, \u003cstrong>Amit Elor\u003c/strong> has been wrestling since the age of 9 and wins gold medals seemingly everywhere she goes. In 2023 alone, Elor took gold at the World Championships, the Pan American Championships, the U23 World Championships and the Junior World Championships. Oh, and she won gold in three out of four of those competitions the year before as well. No reason why she won’t do the same in Paris.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Paris Olympics will be broadcast by NBC and Peacock between July 26 and Aug. 11. Check \u003ca href=\"https://www.nbcolympics.com/schedule\">NBC’s schedule\u003c/a> for details.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Skateboarding, hammer throwing and kiteboarding, oh my! Bay athletes are competing across Paris. Here's where to find them.","status":"publish","parent":0,"modified":1721082870,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":3207},"headData":{"title":"Paris 2024 Olympic Games: Bay Area Athletes to Watch | KQED","description":"Skateboarding, hammer throwing and kiteboarding, oh my! Bay athletes are competing across Paris. Here's where to find them.","ogTitle":"Bay Area Athletes to Watch at the Paris 2024 Olympic Games","ogDescription":"","ogImgId":"","twTitle":"Bay Area Athletes to Watch at the Paris 2024 Olympic Games","twDescription":"","twImgId":"","socialTitle":"Paris 2024 Olympic Games: Bay Area Athletes to Watch %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Bay Area Athletes to Watch at the Paris 2024 Olympic Games","datePublished":"2024-07-15T07:30:54-07:00","dateModified":"2024-07-15T15:34:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"True","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"sticky":false,"nprStoryId":"kqed-11993783","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Paris Olympics is almost upon us and with over 10,000 athletes competing in 32 sports, it can be tough to know what to watch and who to root for. In the interest of narrowing down your viewing options, here then are the incredible Bay Area athletes who’ll be competing in Paris.\u003c/p>\n\u003ch2>Artistic Swimming\u003c/h2>\n\u003cp>\u003cstrong>Jacklyn Luu\u003c/strong> hails from Milpitas, is a graduate student at Stanford University and a proud, second-generation Vietnamese American. She can also — like the rest of her artistic swimming team — hold her breath underwater for a frighteningly long time. This is one of the most captivating sports of the Summer Olympics, and this is the first year the U.S. women’s team has made it to the team event since 2008. Go, Jacklyn!\u003c/p>\n\u003cfigure id=\"attachment_11993805\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/twins-badminton-scaled-e1720808610530.jpg\" alt=\"Two young women of Asian descent stand smiling together, holding up medals and commemorative toys.\" width=\"1920\" height=\"1278\">\u003cfigcaption class=\"wp-caption-text\">Twins and badminton partners Annie Xu (left) and Kerry Xu pose with their silver medals after the women’s doubles final event of the 2023 Pan American Games in Santiago. \u003ccite>(PABLO VERA/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Badminton\u003c/h2>\n\u003cp>Imagine being the parent of an Olympian. The pride! The awe! The near-constant desire to smugly point at your perfectly formed offspring and say, “Look what I made!” Now imagine being the parents of 24-year-old twin sisters \u003cstrong>Kerry and Annie Xu\u003c/strong>. These San José-born, UC Berkeley graduates will be playing as a doubles team, having taken up badminton at the age of 8. Their friends at Milpitas’ Bay Badminton Club, where they’ve been training for the last 14 years, will be cheering them on every step of the way — just probably not as loudly as their parents.\u003c/p>\n\u003cp>The twins aren’t the Bay’s only badminton talent heading to Paris. Fremont’s \u003cstrong>Jennie Gai\u003c/strong> and Foster City’s \u003cstrong>Joshua Yuan\u003c/strong> will also be hitting the courts. Yuan has openly admitted that when he first started playing at South San Francisco’s Bay Badminton Center, he “didn’t like it, [but] my parents forced me to continue.” Gai also once said that her folks gave her the choice of tennis or badminton, and she landed on the latter because “tennis is too much sun.” Proof positive that wonderful things \u003cem>can\u003c/em> come from forcing your reluctant children to exercise.\u003c/p>\n\u003cfigure id=\"attachment_11948154\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11948154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855.jpg\" alt=\"Basket ball player pumps fist and shouts in victory with crowd behind him.\" width=\"1024\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/04/GettyImages-1486638855-160x110.jpg 160w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Curry of the Golden State Warriors celebrates during the third quarter in Game 7 of the Western Conference first-round playoffs against the Sacramento Kings at Golden 1 Center on April 30, 2023, in Sacramento. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basketball\u003c/h2>\n\u003cp>Warriors head coach \u003cstrong>Steve Kerr\u003c/strong> and \u003cstrong>Steph Curry\u003c/strong> are off to Paris. It’ll be Kerr’s second Olympics, having coached at the 2021 Tokyo Games, but Curry’s first time. Grant Hill, managing director of USA Basketball, said Curry was “almost giddy” when he found out he’d make the cut. Show ’em how it’s done, Chef Curry.\u003c/p>\n\u003cp>Hayward’s \u003cstrong>Chelsea Gray\u003c/strong> and Walnut Creek’s \u003cstrong>Sabrina Ionescu\u003c/strong> will be holding things down on the women’s team. Gray already has a gold medal from Tokyo and is probably about to get another — the USA women’s basketball team has won for the last seven consecutive Olympics. Ionescu is a perfect addition to keep that roll going. Last year, she set an NBA record at the annual 3-point competition, scoring 37 out of a potential 40 points.\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\u003ch2>Decathlon\u003c/h2>\n\u003cp>It takes a special kind of (masochistic?) competitor to choose the decathlon as their sport of choice. After an entire day of sprinting, running, long jump, shot put and high jump competitions, athletes have to roll right on back the next day to run hurdles, throw discus, do pole vault, throw javelins and, oh yes, partake in more running.\u003c/p>\n\u003cp>Keep an eye on \u003cstrong>Harrison Williams\u003c/strong>, a 6-foot-5-inch Stanford graduate who’s competing in his first Olympics. He spent his entire time at Stanford breaking the university’s decathlon records, so fingers crossed he can perform similar feats in Paris.\u003c/p>\n\u003ch2>Discus\u003c/h2>\n\u003cp>Technically, he’s on Team Lithuania, but \u003cstrong>Mykolas Alekna\u003c/strong> will be repping UC Berkeley at the 2024 Games, too. The psychology student is already a well-known athlete in his home country, but his profile is rising across the U.S. because of the low-key manner in which he keeps performing extraordinary feats.\u003c/p>\n\u003cp>In April, Alekna broke the oldest world record in track and field when he threw the discus nearly 244 feet. Needless to say, Alekna’s gold prospects are pretty solid — especially when you consider that his dad, Virgilijus Alekna, won gold medals for discus throwing at both the Sydney 2000 and Athens 2004 Olympics.\u003c/p>\n\u003cfigure id=\"attachment_11993809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/fencing-scaled-e1720808587710.jpg\" alt=\"A man wearing fencing gear sits on a log in a wooded area. He is smiling and casually holding a foil.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Alexander Massialas in San Francisco, May 2020. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fencing\u003c/h2>\n\u003cp>Like Mykolas Alekna, \u003cstrong>Alexander Massialas\u003c/strong> had some sizable shoes to fill — his father, Greg, was on the American fencing teams that competed in the 1984 and 1988 Olympic Games. Also like Alekna, Massialas — born and raised in San Francisco — is not struggling to keep up with his talented pop. The Stanford University graduate is already in possession of three Olympic medals — a silver he won in 2016 and two bronzes he earned as part of the men’s fencing team in 2016 and 2021.\u003c/p>\n\u003cp>One of Massialas’ most notable teammates from those last two games is \u003cstrong>Gerek Meinhardt\u003c/strong>, who, in 2008, became the youngest athlete to ever compete on a U.S. Olympic fencing team. Raised in San Francisco, Meinhardt found his love of fencing early in life and via a family friend who coached the sport. That coach? None other than Greg Massialas.\u003c/p>\n\u003ch2>Gymnastics\u003c/h2>\n\u003cp>Stanford University sophomore \u003cstrong>Asher Hong \u003c/strong>is heading to Paris in search of gold this month, having placed first on rings in the Olympic trials. And it’s no wonder — head to \u003ca href=\"https://www.instagram.com/p/C9L6DYZumnV/?hl=en\">Hong’s Instagram page\u003c/a> to see some of his truly astonishing physical feats. The 20-year-old will be accompanied by fellow Stanford gymnast \u003cstrong>Khoi Young\u003c/strong> who’ll be acting as an alternate for the U.S. team.\u003c/p>\n\u003ch2>Hammer Throwing\u003c/h2>\n\u003cp>UC Berkeley graduate \u003cstrong>Camryn Rogers\u003c/strong> will be spinning at high speeds and hurling hammers with her trademark strength and precision for Team Canada. You’ll want to root for her anyway — Rogers is the reigning world champion, has a day job working as a special education advocate, and considers her fellow Cal athletes as a second family. The \u003cem>San Francisco Chronicle\u003c/em> once called her “the Stephen Curry of her sport — dominant and engaging and likable.” Rogers is someone you can’t help but cheer for.\u003c/p>\n\u003cfigure id=\"attachment_11993810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Daniela-M-scaled-e1720808561524.jpg\" alt=\"A tanned woman kite boarding in open water.\" width=\"1920\" height=\"1187\">\u003cfigcaption class=\"wp-caption-text\">Daniela Moroz during day 4 of the Paris 2024 sailing test event in Marseille. \u003ccite>(Clive Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kiteboarding\u003c/h2>\n\u003cp>For those wondering if there’s a more peculiar Olympic activity than hammer throwing, the answer to that might be kiteboarding. After all, this sport involves humans strapping small boards to their feet, large sails to their bodies, and then throwing themselves at bodies of water. One of those humans is \u003cstrong>Daniela Moroz\u003c/strong> from Lafayette, a six-time Formula Kite World Champion who won her first at the age of 15. This is the first year that kiteboarding has been included in the Olympics, and Moroz is thrilled to face the new level of competition. “I am ready for the challenge,” she recently stated on \u003ca href=\"https://www.danielamoroz.com/about\">her website\u003c/a>, “and I can’t wait to experience everything that will happen along the way.”\u003c/p>\n\u003ch2>Long Jump\u003c/h2>\n\u003cp>Born and raised in the East Bay, \u003cstrong>Malcolm Clemons\u003c/strong> — a current student at the University of Florida in Gainesville — can’t believe how far he’s come. In a recent \u003ca href=\"https://www.instagram.com/p/C9P7piJujMT/?img_index=1\">Instagram post\u003c/a>, the long jumper wrote: “From a kid with big dreams in East Oakland, California to an Olympian — what a journey. I thank God for everything. Thank you to my family for all the love and support and to everyone in my village who believed in me.”\u003c/p>\n\u003cfigure id=\"attachment_11993814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Okeefe-scaled-e1720808653971.jpg\" alt=\"A female marathon runner smiles broadly with her arms outstretched, partially wrapped in an American flag. She has a patch of blood on the front of her shirt.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Fiona O’Keeffe smiles after placing first during the 2024 US Olympic Team Trials in Florida last February. \u003ccite>(Mike Ehrmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marathon\u003c/h2>\n\u003cp>Long-distance runner \u003cstrong>Fiona O’Keeffe\u003c/strong> hails from Davis, graduated from Stanford, and qualified for this year’s Olympics in record time. The fact that the Olympic trial was her first ever professionally run marathon? No biggie, apparently. “There was some level of fear of the unknown,” O’Keeffe told NBC. “But I was really excited to just go run the marathon and see what I could do.”\u003c/p>\n\u003cp>When O’Keefe crossed the finish line \u003ca href=\"https://twitter.com/CitiusMag/status/1754617970481885495\">bleeding through her track top\u003c/a>, she took it with characteristic stoicism. “Yes, the red stuff on my bib was blood,” \u003ca href=\"https://www.instagram.com/fiona_okeeffe/p/C2-7w6-LeGf/?img_index=2\">she later explained on Instagram\u003c/a>. “[I] made the rookie move of stashing a gel in my sports bra and proceeding to drench myself with water on the course, resulting in a little chafing situation.”\u003c/p>\n\u003ch2>Rowing\u003c/h2>\n\u003cp>\u003cstrong>Ben Davison\u003c/strong> has been based in Oakland since 2019 and trains with the \u003ca href=\"https://www.californiarowingclub.com/about\">California Rowing Club\u003c/a>. This will be his second Olympic competition, having competed in the U.S. Men’s 8+ in Tokyo in 2021. He’ll be cheered on by the many rowers he trains as an assistant coach at the Oakland Strokes rowing club.\u003c/p>\n\u003cp>Another Oakland-based rower heading to Paris is \u003cstrong>Sorin Koszyk \u003c/strong>who last year won the men’s championship singles race in record time. \u003ca href=\"https://usrowing.org/rosters/2023-senior-national-team/sorin-koszyk\">Koszyk’s U.S. Rowing profile\u003c/a> says, “Sorin enjoys spending time with friends and Jenga.” Someone had better have a tower lined up for him at the end of this.\u003c/p>\n\u003ch2>Skiff\u003c/h2>\n\u003cp>If you’re not a boaty person, you might not yet know what a skiff is. Technically, skiffs are any small, open, flat-bottomed sailboats. In the Olympics, the Men’s and Women’s Skiff category describes humans operating in pairs, hanging off the side of skiffs, going at ludicrously high speeds while operating a series of wires and pulleys. Skiff looks extremely challenging, but try telling that to San Francisco’s \u003cstrong>Hans Henken\u003c/strong>, who’s competing in the Olympics for the very first time. He and teammate Ian Barrows are currently ranked second in the world and are clearly not to be trifled with — especially when you consider Henken has a master’s degree from Stanford in aeronautical and astronautical engineering. That should help move things along quite nicely.\u003c/p>\n\u003cfigure id=\"attachment_11993816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/minna-scaled-e1720808755545.jpg\" alt=\"A teenage girl skateboards the end of a ramp she's about to drop back into.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess skates on day 3 of the Olympic Qualifier Series in Shanghai on May 18, 2024. \u003ccite>(Fred Lee/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skateboarding\u003c/h2>\n\u003cp>Hailing from Petaluma, 18-year-old daredevil \u003cstrong>Minna Stess\u003c/strong> has been throwing herself down unfeasibly giant ramps her whole life. (Literally — she started skating as a toddler.) Egged on by a supportive family who built a mini skatepark in their backyard for her to practice on, Stess has been sponsored by the likes of Vans, Independent Trucks and Santa Cruz Skateboards since she was a pre-teen. “I’ve always been competitive,” she told \u003cem>Teen Vogue\u003c/em> earlier this year. “But I never thought the Olympics would be something that I could be doing. It’s kind of crazy that this is all happening now.”\u003c/p>\n\u003cp>Also repping the Bay from his skateboard is \u003cstrong>Nyjah Huston\u003c/strong>, originally from Davis. Like Stess, Huston was a skateboarding child prodigy, on the X Games circuit by age 11, and now in possession of 13 gold medals from competing in them. He’s also earned six world championship trophies. Huston has long tried to use his platform for good. In 2010, he started a nonprofit called \u003ca href=\"https://letitflow.org/\">Let It Flow\u003c/a> with the hopes of getting clean water to communities in need all over the world.\u003c/p>\n\u003ch2>Soccer\u003c/h2>\n\u003cp>Menlo Park’s \u003cstrong>Tierna Davidson\u003c/strong> and San José’s \u003cstrong>Naomi Girma\u003c/strong> will both be showing off their fancy footwork on the Parisian pitch this summer. Davidson has played for Stanford, won a bronze medal in Tokyo in 2021, and is the youngest on the women’s Olympic soccer team. (She should be used to that by now — she was also the youngest person on the 2019 World Cup women’s team.)\u003c/p>\n\u003cp>Girma, another Stanford graduate, is known as a team player in every sense of the word. She credits her Ethiopian parents — who moved to the U.S. in the early 1980s — with instilling in her strong values and a generous spirit. “Their sacrifices are the only reason I am where I am today,” she recently told NBC Sports. Girma was declared player of the year by the U.S. Women’s National Soccer Team last year because, yes, she’s just that good.\u003c/p>\n\u003ch2>Swimming\u003c/h2>\n\u003cp>The Bay has a healthy number of swimmers at the Paris Olympics this year, but Stanford graduate \u003cstrong>Katie Ledecky\u003c/strong> is undoubtedly the most intimidating. Ledecky has already earned seven Olympic gold medals and another 21 world championship golds. Can anyone beat that? We’re about to find out.\u003c/p>\n\u003cp>UC Berkeley graduates \u003cstrong>Abbey Weitzel\u003c/strong> and \u003cstrong>Ryan Murphy\u003c/strong> will also be swimming in Paris. Weitzel earned two medals (one gold, one silver) at the Rio Olympics in 2016 and another two in Tokyo in 2021 (one silver, one bronze). Murphy has four Olympic golds to his name and, back in 2009, broke a backstroke world record. None of it has gone to his head, though. After marrying his college sweetheart in 2023, Murphy credited his new wife with much of his success. “I think she’s someone who definitely gets me just motivated about life,” Murphy told \u003cem>People\u003c/em> magazine. “She’s super optimistic, and I think that’s just been really helpful for me in terms of my approach to the sport.”\u003c/p>\n\u003cp>\u003cstrong>Evgenii Somov\u003c/strong>, who was born in St. Petersburg, Russia, and moved to Oakland in 2022 after swimming for the University of Louisville, will compete in Paris as an “Individual Neutral Athlete” in the 100-meter breaststroke. Since Russian (and Belarussian) athletes were banned from this year’s Olympics due to the war in Ukraine, Somov has improbably qualified and will race without any state support. Parents of swimmers he’s coached in the Bay Area launched a GoFundMe to help pay for Somov’s expenses, which include his flights and high-tech swimwear. “It comes down to, I either want to go, or I don’t want to go,” he told the \u003ci>San Francisco Chronicle\u003c/i> about his drive to compete. “And I want to go.”\u003c/p>\n\u003ch2>Table Tennis\u003c/h2>\n\u003cp>Redwood City’s \u003cstrong>Lily Zhang\u003c/strong> started her table tennis career as the youngest female on the U.S. women’s team. She was just 12 years old at the time. Zhang, a former UC Berkeley student, was the youngest member of the U.S. team to compete in 2012’s London Olympics and also took part in the 2021 Tokyo Games. She can undoubtedly provide some inspiration to San José’s \u003cstrong>Rachel Sung\u003c/strong>, who is heading to the Olympics for the very first time.\u003c/p>\n\u003cp>\u003cstrong>Kanak Jha\u003c/strong> from Milpitas — who was the U.S. national champion four years in a row (2016–2019) — is also heading to the Olympics, followed by a small cloud of controversy. Jha got hit with a one-year suspension in 2023 for failing three drug tests within 12 months. 2024 will not be Jha’s first Olympics, though. He also competed in 2016 and 2021.\u003c/p>\n\u003cfigure id=\"attachment_11993818\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993818\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/CJ-tae-scaled-e1720808823434.jpg\" alt=\"Two men engaged in martial arts. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">CJ Nickolas (left) competes against Miguel Angel Trejos at the Pan American Games in 2022. \u003ccite>(JAVIER TORRES/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taekwondo\u003c/h2>\n\u003cp>The tale of\u003cstrong> Carl “CJ” Nickolas\u003c/strong>’ athletic career is a heartwarming one of family togetherness. Born in Oakland, Nickolas started taekwondo at the age of 3 at the same time his mom Denise took up the sport. Denise’s achievements were impressive — at 43 years old, the fourth-degree black belt won a national championship. That, and her work ethic in general, has provided Nickolas with nonstop inspiration since he was a kid.\u003c/p>\n\u003cp>“That’s where I learned about hard work,” \u003ca href=\"https://www.marinij.com/2024/07/08/how-east-bay-taekwondo-fighter-cj-nickolas-became-a-gold-medal-contender-at-the-paris-olympics/\">he told the \u003cem>Marin Independent Journal\u003c/em>\u003c/a> earlier this year. “I wanted to work harder than her.”\u003c/p>\n\u003cp>Nickolas’ prospects at the Olympics are pretty good. He’s currently ranked number two in his weight class and entering the games focused and confident — just like his mom.\u003c/p>\n\u003ch2>Water Polo\u003c/h2>\n\u003cp>The Bay Area has a ridiculous amount of female talent in the water polo category this year. There’s \u003cstrong>Jewel Roemer\u003c/strong>, who hails from Martinez and competes for Stanford. There are former Stanford students \u003cstrong>Jordan Raney,\u003c/strong> \u003cstrong>Ryann Neushul \u003c/strong>and \u003cstrong>Ella Woodhead \u003c/strong>(who was born and raised in San Anselmo) — all impressive competitors. There’s also San José’s \u003cstrong>Jenna Flynn\u003c/strong>, who earned first place in the 2024 World Aquatics Championships \u003cem>and\u003c/em> the 2023 Pan American Games.\u003c/p>\n\u003cp>Best of all, \u003cstrong>Maggie Steffens\u003c/strong> — yet another Stanford graduate — is heading back to the Olympics with the goal of winning her fourth gold medal. Originally from San Ramon and now living in Danville, Steffens has been a top goal scorer in each of the last three Olympics. What’s more, the team captain has long been a beacon for women’s water polo. One so bright, in fact, she inspired Flavor Flav to step up as the official hype man of U.S. women’s water polo. Back in May, Flav publicly pledged to sponsor Steffens and the whole team, \u003ca href=\"https://x.com/FlavorFlav/status/1786906613971865696\">stating on X\u003c/a>: “The US Women’s Waterpolo team has won the GOLD MEDAL THREE OLYMPICS IN A ROW,,, these women should not have to be working 2-3 side jobs to be able to compete.”\u003c/p>\n\u003cp>Amen to that, Flav.\u003c/p>\n\u003cp>If you’re wondering where the men are, adorable San Anselmo brothers \u003cstrong>Quinn and Dylan Woodhead\u003c/strong> are both heading to Paris, too. “When you can compete with someone out of a place of love and trust,” Dylan recently told NBC Bay Area, “it’s really easy.” Awww.\u003c/p>\n\u003ch2>Wrestling\u003c/h2>\n\u003cp>The Bay is represented by a major contender in women’s wrestling this summer. Born in Walnut Creek, \u003cstrong>Amit Elor\u003c/strong> has been wrestling since the age of 9 and wins gold medals seemingly everywhere she goes. In 2023 alone, Elor took gold at the World Championships, the Pan American Championships, the U23 World Championships and the Junior World Championships. Oh, and she won gold in three out of four of those competitions the year before as well. No reason why she won’t do the same in Paris.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Paris Olympics will be broadcast by NBC and Peacock between July 26 and Aug. 11. Check \u003ca href=\"https://www.nbcolympics.com/schedule\">NBC’s schedule\u003c/a> for details.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing","authors":["11242"],"categories":["news_29992","news_223","news_31795","news_28250","news_8","news_10"],"tags":["news_6454","news_30924","news_34272"],"featImg":"news_11993905","label":"news"},"arts_13960783":{"type":"posts","id":"arts_13960783","meta":{"index":"posts_1716263798","site":"arts","id":"13960783","score":null,"sort":[1720692046000]},"guestAuthors":[],"slug":"building-a-native-arts-and-culture-space-from-the-ground-up","title":"Building a Native Arts and Culture Space From the Ground Up","publishDate":1720692046,"format":"audio","headTitle":"Building a Native Arts and Culture Space From the Ground Up | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Ras K'dee is DJ, emcee and founder of SNAG Magazine. Now he's building a studio for Indigenous artists. ","status":"publish","parent":0,"modified":1720639756,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":77,"wordCount":3688},"headData":{"title":"Building a Native Arts and Culture Space From the Ground Up | KQED","description":"This week on Rightnowish, we talk to Ras K'dee, a DJ, emcee and the founder of SNAG Magazine. Now he's building an arts and culture center to help Indigenous artists to grow.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"This week on Rightnowish, we talk to Ras K'dee, a DJ, emcee and the founder of SNAG Magazine. Now he's building an arts and culture center to help Indigenous artists to grow.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Building a Native Arts and Culture Space From the Ground Up","datePublished":"2024-07-11T03:00:46-07:00","dateModified":"2024-07-10T12:29:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7274032882.mp3?updated=1720634574","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960783/building-a-native-arts-and-culture-space-from-the-ground-up","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960783/building-a-native-arts-and-culture-space-from-the-ground-up","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_3178","arts_3217"],"featImg":"arts_13960790","label":"arts_8720"},"arts_13960325":{"type":"posts","id":"arts_13960325","meta":{"index":"posts_1716263798","site":"arts","id":"13960325","score":null,"sort":[1719482400000]},"guestAuthors":[],"slug":"all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf","title":"‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF","publishDate":1719482400,"format":"audio","headTitle":"‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Marcel Pardo Ariza's latest art installation celebrates places in queer and trans nightlife.","status":"publish","parent":0,"modified":1720697258,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":349},"headData":{"title":"‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF | KQED","description":"Marcel Pardo Ariza's latest work urges people to take a trip down memory lane through images of gone but not forgotten bar signs from San Francisco's queer and trans nightlife.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Marcel Pardo Ariza's latest work urges people to take a trip down memory lane through images of gone but not forgotten bar signs from San Francisco's queer and trans nightlife.","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF","datePublished":"2024-06-27T03:00:00-07:00","dateModified":"2024-07-11T04:27:38-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7628242492.mp3?updated=1719449369","sticky":false,"nprStoryId":"kqed-13960325","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1"],"tags":["arts_7705","arts_5142","arts_22194","arts_7128","arts_11333","arts_18754","arts_4640","arts_22195"],"featImg":"arts_13960326","label":"arts_8720"},"arts_13959969":{"type":"posts","id":"arts_13959969","meta":{"index":"posts_1716263798","site":"arts","id":"13959969","score":null,"sort":[1718877628000]},"guestAuthors":[],"slug":"loove-moore-the-out-here-specialist-leads-by-example","title":"Loove Moore, the 'Out Here Specialist,' Leads by Example","publishDate":1718877628,"format":"audio","headTitle":"Loove Moore, the ‘Out Here Specialist,’ Leads by Example | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>West Oakland’s \u003ca href=\"https://www.instagram.com/theloovemooreshow/\" target=\"_blank\" rel=\"noopener\">Loove Moore\u003c/a> is a superhero. His power? His ability to participate.\u003c/p>\n\u003cp>He’s a talented musician, dancer and community documentarian who interviews people about topics ranging from current events in the Bay Area to their idea of love. Plus he can get down behind the camera, producing all of his own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13959984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-800x535.jpg\" alt=\"Loove Moore holds up a hand covered in rings, dominated by one with the image of Goku on his index finger. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore holds up a hand covered in rings, dominated by one with the image of Goku on his index finger. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s active online, interacting with thousands of followers across platforms. And he’s in the community, never shying away from small stages or big events. He has no problem with creating his own platform, either, as he did during the height of the pandemic with his open mic series \u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener\">Loove At The Lake\u003c/a>.\u003c/p>\n\u003cp>One of Loove Moore’s many monikers is “Dr. Do-A-Lot,” and he lives up to that name.\u003c/p>\n\u003cp>Known for his interview series \u003cem>\u003ca href=\"https://www.youtube.com/channel/UCaxfNVB-y6Bj_OYkjuA4qnQ\" target=\"_blank\" rel=\"noopener\">The Loove Moore Show \u003c/a>\u003c/em>and for making songs that sample classic Bay Area tracks, Loove Moore’s affinity for culture and dedication to his community is driven by a deep-seated spiritual conviction.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o5c0xlv2FpI\u003c/p>\n\u003cp>This week we talk about how that spirit guides him through his struggles with codependency, and inspires him to talk to random strangers, hip-hop icons like MC Hammer and even local wildlife — \u003ca href=\"https://www.youtube.com/shorts/_hMsslCa4AA\" target=\"_blank\" rel=\"noopener\">like squirrels\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7634881419\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Love to me is… it’s everything. It’s the motivational force in, in our life. And that’s why I’m trying to get people to like, giving people the opportunity to cut through to that love. And if you knew better, you do better. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">That is the voice of the one and only, Loove Moore. On top of being a rapper, Loove Moore has become a fixture in Oakland for his man on the street interviews that he films by himself, edits by himself and posts to his social media platforms. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each interview is a unique glimpse into the interactions that Loove Moore has as he runs around the Bay Area. And every conversation results in an uplifting message. True to his name, everything he does is about spreading more love.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I first caught wind of his work just over four years ago while he was recording these videos at Lake Merritt called “Love at the Lake.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">So I basically would just go out there myself and set up my tables, set up my microphone and like interview people to ask them, like, you know, how they feel about current things happening in the Bay. And then, eventually people would just come pull up and it’s like 5, 10, 15, 20 people out there that don’t know each other! And they get to learn how to play dominoes, share stories, then gave people a platform to perform if they never performed before. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What I love about the “The Loove Moore Show” is how he absorbs the energy of the Town and transmits it to the larger public. He brings the care-free persona with the highly evolved lingo from the soil, and wraps it all up in his fly fashion. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At our interview, my guy showed up in a fresh bucket hat adorned with hella Oakland themed pins, a paisley button down layered over a t-shirt that says ‘Bring Black Oakland’, paired with corduroy pants, hiking boots, and a copper ring that features Goku from Dragon Ball Z. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s just real life experiences that I’m wearing and it’s very intentional. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Whether it’s bringing different threads together or uniting folks of different backgrounds, Loove Moore can do it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’ll talk to us about the intention behind his work, how it’s deeper than spreading the Oakland-ism, it’s a spiritual calling. Our convo, after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I want to start with you as a person. Like you present with this… the fashionable attire and the clothes and the pins and the rings and everything that you bring to the table. For folks who don’t know, who is Loove Moore? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Loove Moore, I mean, I always say, I’m an out-here-specialist, you know? I just be out here. I mean, just one of my superpowers is participation. We be needing icebreakers to connect with each other. We love to connect with each other, but sometimes we have anxieties and fears when it come to connecting with each other and I always was brave enough to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I just took it on myself to just like, man, let me just… let me just get comfortable with being uncomfortable. And I got to see how that inspired other people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So many people be walking up to me now like, “Oh, you that one positive dude!” or “You had the chipmunk on your head!” People be saying the wildest stuff so I be wanting to get what others people’s perception is like, because for me, at this point I’m just doing. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it man! bring me back to the origins, the start. Like when did you first start getting out there? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean I’m from West Oakland, so I was in West Oakland first, and I moved to San Leandro. I went to McKinley in San Leandro, and that was kind of a good start, like I was outside of like, my main core people. I had to learn how to put myself out there. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">And during that whole time, I would go to the Boys and Girls Club, San Leandro, and then eventually going to Camp Mendocino. And Camp Mendocino that’s where I like…. it’s crazy. I really just learned how to just flourish and just embrace all of my talents and gifts: swimming in a river, jumping off the rock, talking to girls and talent show! It was just, bruh… it was just so much things to to get into…International Day with so many different people from all around the world. “Pick up your trainers!” We up here trying to clean up the cabin, talking ‘bout pick up your trainers. I’m like, “These are shoes, bro. What are you talking about?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So just having those type of relationships with people growing up and coming up, bruh. That was just, man, just God wrote because it ain’t like came up with the most resources and stuff like that but I came the most resourceful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw \u003c/b>\u003cspan style=\"font-weight: 400\">You were absorbing it, you were a sponge to it. It sounds like, like all those things you just named. That obviously means that it left an impact on you and you took note of it. And at the start of it all, you mentioned where it started, specifically West Oakland… Acorn. What role did that community play in who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely had a sense of pride, sense of belonging. My grandma was one of the first families to move into uh Acorn. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know it’s so many different families that come from, Acorn that’s like my family too. You know, my aunties and uncles and they all grew up with each other. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So that showed me how important the sense of community was for me to just feel like I don’t have to be threatened by you, by you personally, whoever this person is, but I could love you, and you could love me because you may love somebody that I know that we are family with. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was just very important to me. And I think that’s what, just West Oakland and just the Bay area and that is exactly what it gives me. So that’s why I love on it back because it be loving on me like that everywhere I go. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Running through streets with your tripod, with your camera, interviewing people. I’ve seen you, you have the series were your interviewing people about the concept of love,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Clip of Loove Moore interviewing a man about love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: What’s your perspective of love, man how important is showing love to you?\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: L-o-v-e\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hmmh\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person:…living on vibrational energy\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Woo\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …meaning when one person’s vibration\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore:Woo\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …finds its vibrational match\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hmm\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …that’s when you experience this euphoria called love!… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Why love? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I think that people get things misconstrued. So you got the light side and shadow side with the duality. So some people say it’s gentrification; I look at it as integration. The balance of that is people coming together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My art was to be like let me interview people so you stop judging people like, let’s see what they really think. You know, like you might see somebody like, look, he look like you go to school at Berkeley and like, bruh, you don’t even know this, bruh.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">I take the time to talk to people. I’ve lived in Oakland, San Leandro, Tracy, you know, I’ve been around different, at least there, so I know the different like, depths and diasporas of people. So I’m like, let me give people a window into that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore\u003c/b>\u003cspan style=\"font-weight: 400\">: \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">So I started interviewing with people on that hype and once I start seeing the different answers, I’m like, okay…\u003c/span> \u003cspan style=\"font-weight: 400\">I go to CoDa, which is a 12 step for codependency.\u003c/span> \u003cspan style=\"font-weight: 400\">I would say, like, ‘I just want love!’ And then they was like, “Well, what do you mean by love?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that somebody could ask me what love was like, “what is the love that I want to receive?,” and I wasn’t even able to describe that. I couldn’t even describe my emotions at one point. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People may not necessarily go to CoDa and stuff like that, but how can I create an experience for people to actually dive deeper into their own consciousness and self-reflect on something that’s important to everybody? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even my bruh, Brother Peace, he kind of was just like “Hey, brother, you know, you should ask people about what their perspective of love is.” A bruh actually asking me that, a younger bruh in my life, saying that, that means that it was a need there. So I’m just like, let me let me do that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I started asking the question at “Love at the Lake.” So I asked them, “What does love mean to you?” You know, so it was because of not being able to identify and communicate how I like to receive love. That’s what made me to say, oh, I think other people may could benefit from asking them what is love to them? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was between the experience of CoDa, uh codependent anonymous,as well as the conversation with Brother Peace and all that informed you on that path, not that it happened like dominoes one after the other, but like all of it, the combination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Yep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s one clip that you posted recently, within the past year where you had the opportunity to interview legendary MC hammer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Clip of Loove Moore interviewing MC Hammer\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Aight bam! It’s me, A to the Miggity, Loove-Moore. And I’m here with…\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">MC Hammer: Hammer Time\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hammer Time man! This the Loove Moore show so I’ma ask you two questions: first question is, what is your perspective on love?\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">MC Hammer: Love is unconditional ya know what i’m saying, it’s like when you love somebody, you gotta love them from the storm, you gotta love them on the good days and bad days, love is unconditional.\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: On love! Bam! And second questions is…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bring me into the process. How did that unfold? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a turf dancing group and we danced with Hammer like back and then like maybe 06 or 07 something like that. But it was like a group of us, so he didn’t necessarily know me out of everybody. He know me, but you know what I mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was actually Tupac’s unveiling of his street sign by the Lake Merritt. It was just a potluck of Bay Area-ism in there, you know? So it was cool and um I just went over there, tapped in with him. Him and Little Dee was over there. Right when he seen me, hugged it up and he just juiced, you know, I aint seen him by a couple of years, so he hugged me hecka tight, you know, and that was just good and reaffirming, reaffirming, and like, you know that the genuineness in our connection. And I always respect MC Hammer because it’s a different type of peak that he reached, you know, what I’m saying? Going diamond and stuff like that. Breaking down so many barriers, a TV show! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I went to my auntie house, it’s a doll of him, I’m like is that Ken? No, that’s MC hammer. Like what, with the parachute pants and everything like, so you know, it’s always just an honor to like, you know, he tapped into me, be so personable, not have all these security and stuff, and just tapped in, gave me a good embrace, like, “Man, good to seeing you,” you know, whoop. And I didn’t even put two and two together, the questions I’m asking, you know. Everybody be on some Hammer and money and stuff like that, like, he broke and all that type of vibe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He more solid than most. He gon’ trust me to know that I’m not trying to play him and stuff like that. That was definitely a beautiful moment and definitely some more to come of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Hammer doesn’t make too many public appearances, nor does he do interviews. And so for you to have that moment with the background of all that, the Bay area luminaries, with Tupac looking down on everybody smiling I’m sure. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore:\u003c/b>\u003cspan style=\"font-weight: 400\"> That was an epic moment.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Epic moment indeed. Um on the other side of the work that you do, the multimedia that you produce, there’s a video, a series of videos I’ve seen you post where you’re interacting with squirrels. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore:\u003c/b>\u003cspan style=\"font-weight: 400\"> [\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\">Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Yeah, there’s a series of em. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Feeding squirrels, like, close. I’ve never been that close to squirrels. What…why squirrels? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Sounds of squirrels chittering and chewing\u003c/em>]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m over there working out at the park, Lowell Park in West Oakland.\u003c/span> \u003cspan style=\"font-weight: 400\">Then a squirrel ran up to me and I pet the squirrel. I’m like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[click]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked it up, come on, we on. And it just just crawled on me and was cool. And just walked around with the squirrel for like, a good, like hour or two. And just to have something that you connect with so genuinely from the gate, you know, just relationships with people is like, we got so much trauma, so much hurt. It\u003c/span> \u003cspan style=\"font-weight: 400\">take a, like a, you know, that acclimation period for people to actually tap in. So I just really, that was just a very precious moment. I shot a video there with him, sat there with him for a little while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do they represent to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I’m Doctor-Do-A-Lot. And I like to be out there with the animals, you know, and just,…animals is special because they… it’s a different language that they speak. Don’t have to say nothing to you, but then, you know, you kind of get it. It’s kind of like when you look out the, outside in a window and you see the, the, the leaves blowing in from the tree and you look outside, oh, ‘I got to wear a jacket cuz it’s cold outside. It’s windy.’ It’s like it didn’t say nothing to you, but you still got it? That’s how animals are like they don’t really speak to you, but it’s like this line of communication. But it still has this like unconditional love when you tap in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Your social media is through the roof. You know, people see the work that you’re doing. They leave comments. There’s a lot of interaction but behind the scenes so much energy is invested into it. You’ve told me a bit about one experience specifically where you were on the AC Transit bus on the late night, and you had an encounter with a person who was showing early signs of Alzheimer’s. Can you bring me into that story? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Basically my grandma is 82. I take care of her like I was bringing her up. She’s getting early signs of dementia and stuff like Alzheimer’s, whatever that is and just memory loss, so I’m familiar with the signs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I left the house at 12:00 at night to go downtown Oakland to film a video, because I just finished this song, “G\u003c/span>\u003cspan style=\"font-weight: 400\">o Crazy on Citas\u003c/span>\u003cspan style=\"font-weight: 400\">” [\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Singing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]. I’m filming and then there’s a lady walk up to me and just like, “Oh, can you uh, the bus?” As I kind of like, was talking to her, I could recognize, like this lady… this an old lady!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I finished the video, did my part, and then when I was telling you, I recognized it, I’m like, “I’m going to take you. It’s good,” because I told her the route. She got the address and I’m like, “I’ll take you. So don’t worry about it. I’ll go the whole route with you. “\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sounds of bus breaks and door opening] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">When we get on the bus, the lady is getting on the bus and then the bus driver says, she didn’t say specifically this, but she’s like ‘Meemaw?!’ like some type of name, like some grandma name like Meemaw. And she like, “ohhh, oh…” She’s like “That’s my son’s grandmother!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m like, what is happening? Okay. But I know the divinity, it happens in so much of my life at this point. But I don’t panic and I expect it, you know. It’s not…when you doubt something it’s a coincidence, but when you when you believe in it and you know it, it’s like that’s divinity! It was supposed to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it. I love it because you stressed the divinity, the divine, the higher power, the higher purpose. And I feel like a lot of people gravitate to you because you’re so, so Bay area, so Oakland, you, you know, the culture, you know, and there’s something underneath all of it. It’s the love and the love is tied to religion, no? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s tied to God. Spirituality plays a big role. You got to take care of yourself, mind, body and soul. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">The mind takes in information, the body takes in nutrition, and the spirit takes in inspiration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I just knew this world was filled with so many illusions, and people make it look like they this and that, and it’s like, that’s not what it really is, you know? I just knew in this world what was going to anchor me to life and makes me want to be here was like my spirit, making my spirit shine through.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know cars, possessions, like, If you don’t got none of those, you, you have no value then basically to most people in the world. So if you got a strong spirit and a strong mind, you going to have value anywhere. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It emanates\u003c/span> \u003cspan style=\"font-weight: 400\">definitely from, like I said, from the media content, but also from your rings, the pins in your hat, your fashion. You got that glow, that Leroy glow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">On love, Okay. Sho’nuf. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sho’nuf\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I also know that, recently you’ve experienced some loss in your personal life, and I don’t want to bring you too deep down that rabbit hole. But I do want to ask you, as a person who has that benevolent glow when you are experiencing hard times, losing loved ones, how do you navigate that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Changing my relationship with, transitioning, like, you know, it’s a celebration, a celebration of their life. It’s still sad. You know, I’m going to feel like…it’s a beauty. It’s beautiful to even feel sad for somebody that passed. Did you want to see them? You can not care at all. You know what I’m saying? So the fact that I even can be sad, I think I see how beautiful it is. And I feel good that I even had the opportunity to be sad over over them passing \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, that’s what prayers are, really it’s just remembering to stay connected to the oneness of all of us in prayers can show up in so many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I look at healing as like, it’s painful like popping a pimple or something. It’s painful, but you got to get it all out. If you don’t get it all out, it’s gonna come back and grow back harder, you know what I’m saying? So when, you when you go there, you know, just think of that when you ready to do it, you know, like make sure you get the full procedure and get it out, you know, so that, you know, you can fill that back up with the spirit and some new fresh glow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Back to the glow. That’s admirable to see the personal growth behind the scenes as well as the professional growth.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">How does your work combat this narrative about Oakland being such a negative city? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, Oakland is known for, like the Black Panthers, sideshows, um just hippie type situation. So it’s all these different things, but it’s so much more. You got skaters, you got people that, you know, graffiti and artists, and it’s all these different stuff. So my thing personally, is just like, instead of people just thinking that it’s just this mob music and that I’m just like, let me just show other things that be, that happens out here. That’s literally what I do. I’ve been doing it for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now that there is this negative narrative going on out here, I naturally combat, you know, that narrative because I’m like, well, I’m doing this, it’s all these positive things going on in Oakland, too. You just choosing to look at the negative side. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Whether people like me or not like me, rocking with it or not, I got a purpose bruh, and I’m sliding on that because who knows what…God connect the dots I’m just doing me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Loove Moore, we can’t thank you enough! Not just for spreading culture and for spreading love, but for doing what you feel in your heart the creator has sent you to do– that’s a reminder to all of us. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Loove Moore can be found on the streets of the town and on your social media dials, his Instagram and youtube pages can be found by looking up theloovemooreshow. All one word and to be clear that’s love with two o’s and more with two o’s. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music that you heard was courtesy of Audio Network. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spread love, it’s the Oakland way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Loove Moore is a musician whose affinity for community is a deep-seated spiritual conviction.","status":"publish","parent":0,"modified":1718904803,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":98,"wordCount":4500},"headData":{"title":"Loove Moore, the 'Out Here Specialist,' Leads by Example | KQED","description":"Loove Moore is a talented musician, dancer, and community documentarian, who interviews people about topics ranging from current events in the Bay Area to their idea of love.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Loove Moore is a talented musician, dancer, and community documentarian, who interviews people about topics ranging from current events in the Bay Area to their idea of love.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Loove Moore, the 'Out Here Specialist,' Leads by Example","datePublished":"2024-06-20T03:00:28-07:00","dateModified":"2024-06-20T10:33:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7634881419.mp3?updated=1718757350","sticky":false,"nprStoryId":"kqed-13959969","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959969/loove-moore-the-out-here-specialist-leads-by-example","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>West Oakland’s \u003ca href=\"https://www.instagram.com/theloovemooreshow/\" target=\"_blank\" rel=\"noopener\">Loove Moore\u003c/a> is a superhero. His power? His ability to participate.\u003c/p>\n\u003cp>He’s a talented musician, dancer and community documentarian who interviews people about topics ranging from current events in the Bay Area to their idea of love. Plus he can get down behind the camera, producing all of his own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13959984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-800x535.jpg\" alt=\"Loove Moore holds up a hand covered in rings, dominated by one with the image of Goku on his index finger. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/DSC07902.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore holds up a hand covered in rings, dominated by one with the image of Goku on his index finger. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s active online, interacting with thousands of followers across platforms. And he’s in the community, never shying away from small stages or big events. He has no problem with creating his own platform, either, as he did during the height of the pandemic with his open mic series \u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener\">Loove At The Lake\u003c/a>.\u003c/p>\n\u003cp>One of Loove Moore’s many monikers is “Dr. Do-A-Lot,” and he lives up to that name.\u003c/p>\n\u003cp>Known for his interview series \u003cem>\u003ca href=\"https://www.youtube.com/channel/UCaxfNVB-y6Bj_OYkjuA4qnQ\" target=\"_blank\" rel=\"noopener\">The Loove Moore Show \u003c/a>\u003c/em>and for making songs that sample classic Bay Area tracks, Loove Moore’s affinity for culture and dedication to his community is driven by a deep-seated spiritual conviction.\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/o5c0xlv2FpI'\n title='//www.youtube.com/embed/o5c0xlv2FpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This week we talk about how that spirit guides him through his struggles with codependency, and inspires him to talk to random strangers, hip-hop icons like MC Hammer and even local wildlife — \u003ca href=\"https://www.youtube.com/shorts/_hMsslCa4AA\" target=\"_blank\" rel=\"noopener\">like squirrels\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7634881419\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Love to me is… it’s everything. It’s the motivational force in, in our life. And that’s why I’m trying to get people to like, giving people the opportunity to cut through to that love. And if you knew better, you do better. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">That is the voice of the one and only, Loove Moore. On top of being a rapper, Loove Moore has become a fixture in Oakland for his man on the street interviews that he films by himself, edits by himself and posts to his social media platforms. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each interview is a unique glimpse into the interactions that Loove Moore has as he runs around the Bay Area. And every conversation results in an uplifting message. True to his name, everything he does is about spreading more love.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I first caught wind of his work just over four years ago while he was recording these videos at Lake Merritt called “Love at the Lake.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">So I basically would just go out there myself and set up my tables, set up my microphone and like interview people to ask them, like, you know, how they feel about current things happening in the Bay. And then, eventually people would just come pull up and it’s like 5, 10, 15, 20 people out there that don’t know each other! And they get to learn how to play dominoes, share stories, then gave people a platform to perform if they never performed before. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What I love about the “The Loove Moore Show” is how he absorbs the energy of the Town and transmits it to the larger public. He brings the care-free persona with the highly evolved lingo from the soil, and wraps it all up in his fly fashion. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At our interview, my guy showed up in a fresh bucket hat adorned with hella Oakland themed pins, a paisley button down layered over a t-shirt that says ‘Bring Black Oakland’, paired with corduroy pants, hiking boots, and a copper ring that features Goku from Dragon Ball Z. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s just real life experiences that I’m wearing and it’s very intentional. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Whether it’s bringing different threads together or uniting folks of different backgrounds, Loove Moore can do it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’ll talk to us about the intention behind his work, how it’s deeper than spreading the Oakland-ism, it’s a spiritual calling. Our convo, after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I want to start with you as a person. Like you present with this… the fashionable attire and the clothes and the pins and the rings and everything that you bring to the table. For folks who don’t know, who is Loove Moore? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Loove Moore, I mean, I always say, I’m an out-here-specialist, you know? I just be out here. I mean, just one of my superpowers is participation. We be needing icebreakers to connect with each other. We love to connect with each other, but sometimes we have anxieties and fears when it come to connecting with each other and I always was brave enough to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I just took it on myself to just like, man, let me just… let me just get comfortable with being uncomfortable. And I got to see how that inspired other people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So many people be walking up to me now like, “Oh, you that one positive dude!” or “You had the chipmunk on your head!” People be saying the wildest stuff so I be wanting to get what others people’s perception is like, because for me, at this point I’m just doing. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it man! bring me back to the origins, the start. Like when did you first start getting out there? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean I’m from West Oakland, so I was in West Oakland first, and I moved to San Leandro. I went to McKinley in San Leandro, and that was kind of a good start, like I was outside of like, my main core people. I had to learn how to put myself out there. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">And during that whole time, I would go to the Boys and Girls Club, San Leandro, and then eventually going to Camp Mendocino. And Camp Mendocino that’s where I like…. it’s crazy. I really just learned how to just flourish and just embrace all of my talents and gifts: swimming in a river, jumping off the rock, talking to girls and talent show! It was just, bruh… it was just so much things to to get into…International Day with so many different people from all around the world. “Pick up your trainers!” We up here trying to clean up the cabin, talking ‘bout pick up your trainers. I’m like, “These are shoes, bro. What are you talking about?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So just having those type of relationships with people growing up and coming up, bruh. That was just, man, just God wrote because it ain’t like came up with the most resources and stuff like that but I came the most resourceful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw \u003c/b>\u003cspan style=\"font-weight: 400\">You were absorbing it, you were a sponge to it. It sounds like, like all those things you just named. That obviously means that it left an impact on you and you took note of it. And at the start of it all, you mentioned where it started, specifically West Oakland… Acorn. What role did that community play in who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely had a sense of pride, sense of belonging. My grandma was one of the first families to move into uh Acorn. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know it’s so many different families that come from, Acorn that’s like my family too. You know, my aunties and uncles and they all grew up with each other. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So that showed me how important the sense of community was for me to just feel like I don’t have to be threatened by you, by you personally, whoever this person is, but I could love you, and you could love me because you may love somebody that I know that we are family with. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was just very important to me. And I think that’s what, just West Oakland and just the Bay area and that is exactly what it gives me. So that’s why I love on it back because it be loving on me like that everywhere I go. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Running through streets with your tripod, with your camera, interviewing people. I’ve seen you, you have the series were your interviewing people about the concept of love,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Clip of Loove Moore interviewing a man about love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: What’s your perspective of love, man how important is showing love to you?\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: L-o-v-e\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hmmh\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person:…living on vibrational energy\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Woo\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …meaning when one person’s vibration\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore:Woo\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …finds its vibrational match\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hmm\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Person: …that’s when you experience this euphoria called love!… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Why love? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I think that people get things misconstrued. So you got the light side and shadow side with the duality. So some people say it’s gentrification; I look at it as integration. The balance of that is people coming together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My art was to be like let me interview people so you stop judging people like, let’s see what they really think. You know, like you might see somebody like, look, he look like you go to school at Berkeley and like, bruh, you don’t even know this, bruh.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">I take the time to talk to people. I’ve lived in Oakland, San Leandro, Tracy, you know, I’ve been around different, at least there, so I know the different like, depths and diasporas of people. So I’m like, let me give people a window into that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore\u003c/b>\u003cspan style=\"font-weight: 400\">: \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">So I started interviewing with people on that hype and once I start seeing the different answers, I’m like, okay…\u003c/span> \u003cspan style=\"font-weight: 400\">I go to CoDa, which is a 12 step for codependency.\u003c/span> \u003cspan style=\"font-weight: 400\">I would say, like, ‘I just want love!’ And then they was like, “Well, what do you mean by love?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that somebody could ask me what love was like, “what is the love that I want to receive?,” and I wasn’t even able to describe that. I couldn’t even describe my emotions at one point. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People may not necessarily go to CoDa and stuff like that, but how can I create an experience for people to actually dive deeper into their own consciousness and self-reflect on something that’s important to everybody? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even my bruh, Brother Peace, he kind of was just like “Hey, brother, you know, you should ask people about what their perspective of love is.” A bruh actually asking me that, a younger bruh in my life, saying that, that means that it was a need there. So I’m just like, let me let me do that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I started asking the question at “Love at the Lake.” So I asked them, “What does love mean to you?” You know, so it was because of not being able to identify and communicate how I like to receive love. That’s what made me to say, oh, I think other people may could benefit from asking them what is love to them? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was between the experience of CoDa, uh codependent anonymous,as well as the conversation with Brother Peace and all that informed you on that path, not that it happened like dominoes one after the other, but like all of it, the combination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Yep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s one clip that you posted recently, within the past year where you had the opportunity to interview legendary MC hammer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Clip of Loove Moore interviewing MC Hammer\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Aight bam! It’s me, A to the Miggity, Loove-Moore. And I’m here with…\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">MC Hammer: Hammer Time\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: Hammer Time man! This the Loove Moore show so I’ma ask you two questions: first question is, what is your perspective on love?\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">MC Hammer: Love is unconditional ya know what i’m saying, it’s like when you love somebody, you gotta love them from the storm, you gotta love them on the good days and bad days, love is unconditional.\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Loove Moore: On love! Bam! And second questions is…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bring me into the process. How did that unfold? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a turf dancing group and we danced with Hammer like back and then like maybe 06 or 07 something like that. But it was like a group of us, so he didn’t necessarily know me out of everybody. He know me, but you know what I mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was actually Tupac’s unveiling of his street sign by the Lake Merritt. It was just a potluck of Bay Area-ism in there, you know? So it was cool and um I just went over there, tapped in with him. Him and Little Dee was over there. Right when he seen me, hugged it up and he just juiced, you know, I aint seen him by a couple of years, so he hugged me hecka tight, you know, and that was just good and reaffirming, reaffirming, and like, you know that the genuineness in our connection. And I always respect MC Hammer because it’s a different type of peak that he reached, you know, what I’m saying? Going diamond and stuff like that. Breaking down so many barriers, a TV show! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I went to my auntie house, it’s a doll of him, I’m like is that Ken? No, that’s MC hammer. Like what, with the parachute pants and everything like, so you know, it’s always just an honor to like, you know, he tapped into me, be so personable, not have all these security and stuff, and just tapped in, gave me a good embrace, like, “Man, good to seeing you,” you know, whoop. And I didn’t even put two and two together, the questions I’m asking, you know. Everybody be on some Hammer and money and stuff like that, like, he broke and all that type of vibe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He more solid than most. He gon’ trust me to know that I’m not trying to play him and stuff like that. That was definitely a beautiful moment and definitely some more to come of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Hammer doesn’t make too many public appearances, nor does he do interviews. And so for you to have that moment with the background of all that, the Bay area luminaries, with Tupac looking down on everybody smiling I’m sure. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore:\u003c/b>\u003cspan style=\"font-weight: 400\"> That was an epic moment.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Epic moment indeed. Um on the other side of the work that you do, the multimedia that you produce, there’s a video, a series of videos I’ve seen you post where you’re interacting with squirrels. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore:\u003c/b>\u003cspan style=\"font-weight: 400\"> [\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\">Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Yeah, there’s a series of em. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Feeding squirrels, like, close. I’ve never been that close to squirrels. What…why squirrels? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Sounds of squirrels chittering and chewing\u003c/em>]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m over there working out at the park, Lowell Park in West Oakland.\u003c/span> \u003cspan style=\"font-weight: 400\">Then a squirrel ran up to me and I pet the squirrel. I’m like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[click]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked it up, come on, we on. And it just just crawled on me and was cool. And just walked around with the squirrel for like, a good, like hour or two. And just to have something that you connect with so genuinely from the gate, you know, just relationships with people is like, we got so much trauma, so much hurt. It\u003c/span> \u003cspan style=\"font-weight: 400\">take a, like a, you know, that acclimation period for people to actually tap in. So I just really, that was just a very precious moment. I shot a video there with him, sat there with him for a little while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do they represent to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I’m Doctor-Do-A-Lot. And I like to be out there with the animals, you know, and just,…animals is special because they… it’s a different language that they speak. Don’t have to say nothing to you, but then, you know, you kind of get it. It’s kind of like when you look out the, outside in a window and you see the, the, the leaves blowing in from the tree and you look outside, oh, ‘I got to wear a jacket cuz it’s cold outside. It’s windy.’ It’s like it didn’t say nothing to you, but you still got it? That’s how animals are like they don’t really speak to you, but it’s like this line of communication. But it still has this like unconditional love when you tap in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Your social media is through the roof. You know, people see the work that you’re doing. They leave comments. There’s a lot of interaction but behind the scenes so much energy is invested into it. You’ve told me a bit about one experience specifically where you were on the AC Transit bus on the late night, and you had an encounter with a person who was showing early signs of Alzheimer’s. Can you bring me into that story? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Basically my grandma is 82. I take care of her like I was bringing her up. She’s getting early signs of dementia and stuff like Alzheimer’s, whatever that is and just memory loss, so I’m familiar with the signs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I left the house at 12:00 at night to go downtown Oakland to film a video, because I just finished this song, “G\u003c/span>\u003cspan style=\"font-weight: 400\">o Crazy on Citas\u003c/span>\u003cspan style=\"font-weight: 400\">” [\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Singing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]. I’m filming and then there’s a lady walk up to me and just like, “Oh, can you uh, the bus?” As I kind of like, was talking to her, I could recognize, like this lady… this an old lady!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I finished the video, did my part, and then when I was telling you, I recognized it, I’m like, “I’m going to take you. It’s good,” because I told her the route. She got the address and I’m like, “I’ll take you. So don’t worry about it. I’ll go the whole route with you. “\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sounds of bus breaks and door opening] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">When we get on the bus, the lady is getting on the bus and then the bus driver says, she didn’t say specifically this, but she’s like ‘Meemaw?!’ like some type of name, like some grandma name like Meemaw. And she like, “ohhh, oh…” She’s like “That’s my son’s grandmother!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m like, what is happening? Okay. But I know the divinity, it happens in so much of my life at this point. But I don’t panic and I expect it, you know. It’s not…when you doubt something it’s a coincidence, but when you when you believe in it and you know it, it’s like that’s divinity! It was supposed to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it. I love it because you stressed the divinity, the divine, the higher power, the higher purpose. And I feel like a lot of people gravitate to you because you’re so, so Bay area, so Oakland, you, you know, the culture, you know, and there’s something underneath all of it. It’s the love and the love is tied to religion, no? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s tied to God. Spirituality plays a big role. You got to take care of yourself, mind, body and soul. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">The mind takes in information, the body takes in nutrition, and the spirit takes in inspiration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I just knew this world was filled with so many illusions, and people make it look like they this and that, and it’s like, that’s not what it really is, you know? I just knew in this world what was going to anchor me to life and makes me want to be here was like my spirit, making my spirit shine through.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know cars, possessions, like, If you don’t got none of those, you, you have no value then basically to most people in the world. So if you got a strong spirit and a strong mind, you going to have value anywhere. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It emanates\u003c/span> \u003cspan style=\"font-weight: 400\">definitely from, like I said, from the media content, but also from your rings, the pins in your hat, your fashion. You got that glow, that Leroy glow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">On love, Okay. Sho’nuf. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sho’nuf\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I also know that, recently you’ve experienced some loss in your personal life, and I don’t want to bring you too deep down that rabbit hole. But I do want to ask you, as a person who has that benevolent glow when you are experiencing hard times, losing loved ones, how do you navigate that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Changing my relationship with, transitioning, like, you know, it’s a celebration, a celebration of their life. It’s still sad. You know, I’m going to feel like…it’s a beauty. It’s beautiful to even feel sad for somebody that passed. Did you want to see them? You can not care at all. You know what I’m saying? So the fact that I even can be sad, I think I see how beautiful it is. And I feel good that I even had the opportunity to be sad over over them passing \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, that’s what prayers are, really it’s just remembering to stay connected to the oneness of all of us in prayers can show up in so many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I look at healing as like, it’s painful like popping a pimple or something. It’s painful, but you got to get it all out. If you don’t get it all out, it’s gonna come back and grow back harder, you know what I’m saying? So when, you when you go there, you know, just think of that when you ready to do it, you know, like make sure you get the full procedure and get it out, you know, so that, you know, you can fill that back up with the spirit and some new fresh glow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Back to the glow. That’s admirable to see the personal growth behind the scenes as well as the professional growth.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">How does your work combat this narrative about Oakland being such a negative city? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, Oakland is known for, like the Black Panthers, sideshows, um just hippie type situation. So it’s all these different things, but it’s so much more. You got skaters, you got people that, you know, graffiti and artists, and it’s all these different stuff. So my thing personally, is just like, instead of people just thinking that it’s just this mob music and that I’m just like, let me just show other things that be, that happens out here. That’s literally what I do. I’ve been doing it for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now that there is this negative narrative going on out here, I naturally combat, you know, that narrative because I’m like, well, I’m doing this, it’s all these positive things going on in Oakland, too. You just choosing to look at the negative side. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music playing\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Loove Moore: \u003c/b>\u003cspan style=\"font-weight: 400\">Whether people like me or not like me, rocking with it or not, I got a purpose bruh, and I’m sliding on that because who knows what…God connect the dots I’m just doing me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Loove Moore, we can’t thank you enough! Not just for spreading culture and for spreading love, but for doing what you feel in your heart the creator has sent you to do– that’s a reminder to all of us. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Loove Moore can be found on the streets of the town and on your social media dials, his Instagram and youtube pages can be found by looking up theloovemooreshow. All one word and to be clear that’s love with two o’s and more with two o’s. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music that you heard was courtesy of Audio Network. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spread love, it’s the Oakland way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959969/loove-moore-the-out-here-specialist-leads-by-example","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_835"],"featImg":"arts_13959983","label":"arts_8720"},"arts_13961042":{"type":"posts","id":"arts_13961042","meta":{"index":"posts_1716263798","site":"arts","id":"13961042","score":null,"sort":[1720741425000]},"guestAuthors":[],"slug":"the-migratory-melancholia-of-the-dependent-spouse","title":"The Migratory Melancholia of the ‘Dependent Spouse’","publishDate":1720741425,"format":"aside","headTitle":"The Migratory Melancholia of the ‘Dependent Spouse’ | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"An H4 visa holder in the South Bay reports from the emotional trenches of modern day immigration.","status":"publish","parent":0,"modified":1720744828,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":904},"headData":{"title":"The Migratory Melancholia of the ‘Dependent Spouse’ | KQED","description":"An H4 visa holder in the South Bay reports from the emotional trenches of modern day immigration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Migratory Melancholia of the ‘Dependent Spouse’","datePublished":"2024-07-11T16:43:45-07:00","dateModified":"2024-07-11T17:40:28-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/artscommentary commentary","sticky":false,"nprByline":"Ashwini Gangal","nprStoryId":"kqed-13961042","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961042/the-migratory-melancholia-of-the-dependent-spouse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg\" alt=\"A young woman sits semi-reclined on a grey couch, looking downward, covered in white and maroon blankets.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.couch_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her apartment, one year after moving to the South Bay from Mumbai. The adjustment process for immigrants can bring on ‘migratory melancholia,’ a specific cluster of emotions. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of all the personal labels I’ve subscribed to while recently working out the plurality of my identity, a tiny alphanumeric one has emerged as the most potent — H4.\u003c/p>\n\u003cp>This seemingly benign title is the name of my visa category in the United States. Around 18 months ago, I moved to the San Francisco Bay Area from India’s financial capital, Mumbai. To say I grew up there sounds a touch reductive; it’s where I lived, learned and loved for 37 years.\u003c/p>\n\u003cp>I moved for love. A whirlwind, cross-continental romance that began on Bumble during the pandemic ended in wedding vows that brought me to America in the winter of 2022. That’s when I became an “H4 wife,” a term used for newlywed spouses, typically brides, who come to the country on a “dependent visa,” which means their partner holds a more dignified employment-based visa called the H1.\u003c/p>\n\u003cp>I used to think “non-resident alien” was the weirdest official nomenclature in America, but “dependent spouse” is worse.\u003c/p>\n\u003cp>Lest anyone think this is a garden variety sob story, let me clarify that I live a privileged life. In fact, the first time I used the word “traumatized” to describe my psychological state after moving to Silicon Valley, my husband balked and reminded me that I was sitting on a $1,500 couch and drinking gourmet Colombian coffee. But the tears still rolled down my face.\u003c/p>\n\u003cfigure id=\"attachment_13961049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg\" alt=\"A young woman sips from a mug while sitting on a couch, with sunlight coming in from the right side.\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13961049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.MAIN_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author in her South Bay apartment. H4 visa holders are sometimes referred to as ‘dependent spouses,’ a distorted form of citizenship limbo. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggle to reorient — socially, professionally, practically — in a new country is real. The story of the asylum-seeking refugee who flees economic hardship, political anarchy or religious persecution in their home country is well documented, as it should be. New York-based author and journalism professor Suketu Mehta writes about immigration as reparation for colonialism in his fabulous book \u003cem>This Land Is My Land\u003c/em>, which passionately advocates for immigrants who fight the odds to come to the United States in search of a better life, and devote their waking hours to earning money for their struggling families back home.\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>Who writes of the trauma of the highly educated, upper-middle class legal immigrant who kisses family and friends goodbye, unplugs a career and moves of their own volition, only to realize that the real journey begins after the plane lands on the tarmac? Who documents the disillusionment of the financially stable, travel-savvy global citizen, who, passport in hand, marches across airports in a quest for the best life they can gift themselves? Who chronicles my — our — brand of immigration? \u003c/p>\n\u003cp>Let me try. What is commonly misinterpreted as homesickness or casually dismissed as the stress of a new relationship — or as Indians like to say, “adjustment issues” — is in fact a cluster of emotions including frustration, anxiousness, low self-esteem, confusion, self-doubt, loneliness, an identity crisis and a sense of pervasive sadness.\u003c/p>\n\u003cp>Collectively, this dull mood state is different in quality from depression or anxiety disorder, both far more debilitating conditions. Nonetheless, the sub-clinical disquietude of the contemporary settler is what I have come to call “migratory melancholia.”\u003c/p>\n\u003cp>The concept of emotion clusters has been explored indifferent contexts. British Psychologist Kevin Dutton, in his book \u003cem>The Wisdom Of Psychopaths\u003c/em>, writes about traits that comprise the psychopathic personality — fearlessness, ruthlessness, confidence, focus, charm, lack of conscience and calmness under pressure. \u003c/p>\n\u003cp>The same logic of clusters, with different emotions, can be applied to migratory melancholia. It could be years before this depressive subset finds room in mental health literature. But change can start sooner. I’d like people experiencing post-migration blues to recognize the signs and know that they are not alone.\u003c/p>\n\u003cfigure id=\"attachment_13961047\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg\" alt=\"\" width=\"899\" height=\"1255\" class=\"size-full wp-image-13961047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ashwini.Plane_-768x1072.jpg 768w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">On the tarmac. \u003ccite>(Abhishek Shet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every immigrant feels their story is unique; that they are somehow different from the hundreds of thousands of others who risk leaving home for their version of the American dream, be it professional, educational, financial or, as in my case, romantic. And while their individual details may be unique, we’re still united in movement, and united in spirit. \u003c/p>\n\u003cp>On my way from Mumbai to San Francisco, there was a seven-hour layover in Dubai. While waiting, I swapped stories with some fellow passengers, one of them a Bangladeshi man from the town of Sylhet who has made New York his home. We had neither coast in common nor mother tongue, but were united in the American immigrant experience.\u003c/p>\n\u003cp>We each grumbled about the lengthy documentation involved in securing, then renewing, then stamping, and then re-renewing our respective visas, and the arduous path to officially belonging here. But that is just paperwork, he said, for America is “here” — pointing to his head with one hand and his heart with another.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.ashwinigangal.com/\">Ashwini Gangal\u003c/a> is a Mumbai-bred, California-based journalist, hopelessly in love with the written word. She is the author of two chapbooks, ‘\u003ca href=\"https://www.amazon.com/Hormonal-House-collection-stories-Mumbai/dp/B0CMN6TYBM\">Hormonal House\u003c/a>’ and ‘\u003ca href=\"https://bottlecap.press/products/yersinia\">Yersinia Pestis\u003c/a>.’ \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961042/the-migratory-melancholia-of-the-dependent-spouse","authors":["byline_arts_13961042"],"categories":["arts_1","arts_2303","arts_22183"],"tags":["arts_2767","arts_10342","arts_10278"],"featImg":"arts_13961052","label":"source_arts_13961042"},"arts_13960447":{"type":"posts","id":"arts_13960447","meta":{"index":"posts_1716263798","site":"arts","id":"13960447","score":null,"sort":[1720627982000]},"guestAuthors":[],"slug":"port-chicago-explosion-80-year-anniversary","title":"Remembering the Port Chicago Explosion, 80 Years Later","publishDate":1720627982,"format":"standard","headTitle":"Remembering the Port Chicago Explosion, 80 Years Later | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"One of the worst disasters in US military history spurred advances in civil rights and desegregation. ","status":"publish","parent":0,"modified":1720632625,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1575},"headData":{"title":"Remembering the Port Chicago Explosion, 80 Years Later | KQED","description":"One of the worst disasters in US military history spurred advances in civil rights and desegregation. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Remembering the Port Chicago Explosion, 80 Years Later","datePublished":"2024-07-10T09:13:02-07:00","dateModified":"2024-07-10T10:30:25-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960447","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960447/port-chicago-explosion-80-year-anniversary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\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>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\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>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960447/port-chicago-explosion-80-year-anniversary","authors":["11491"],"categories":["arts_1","arts_835","arts_7862","arts_235"],"tags":["arts_22207","arts_10342","arts_10278","arts_2640","arts_22206"],"featImg":"arts_13960448","label":"arts"},"arts_13960687":{"type":"posts","id":"arts_13960687","meta":{"index":"posts_1716263798","site":"arts","id":"13960687","score":null,"sort":[1720540800000]},"guestAuthors":[],"slug":"oakland-ballers-baseball-summertime-fans","title":"Summertime Baseball, Oakland Style","publishDate":1720540800,"format":"aside","headTitle":"Summertime Baseball, Oakland Style | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg\" alt=\"\" width=\"1232\" height=\"1600\" class=\"aligncenter size-full wp-image-13960698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-800x1039.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-1020x1325.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-768x997.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1-1183x1536.jpeg 1183w\" sizes=\"(max-width: 1232px) 100vw, 1232px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2.jpeg\" alt=\"\" width=\"1230\" height=\"1600\" class=\"aligncenter size-full wp-image-13960697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2.jpeg 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-800x1041.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-1020x1327.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-768x999.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.2-1181x1536.jpeg 1181w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3.jpeg\" alt=\"\" width=\"1236\" height=\"1600\" class=\"aligncenter size-full wp-image-13960696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3.jpeg 1236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-800x1036.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-1020x1320.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-768x994.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.3-1187x1536.jpeg 1187w\" sizes=\"(max-width: 1236px) 100vw, 1236px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_.jpg\" alt=\"\" width=\"1237\" height=\"1600\" class=\"aligncenter size-full wp-image-13960750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.4.rev_-1188x1536.jpg 1188w\" sizes=\"(max-width: 1237px) 100vw, 1237px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg\" alt=\"\" width=\"1247\" height=\"1600\" class=\"aligncenter size-full wp-image-13960694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg 1247w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-800x1026.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1020x1309.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-160x205.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-768x985.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1197x1536.jpeg 1197w\" sizes=\"(max-width: 1247px) 100vw, 1247px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6.jpeg\" alt=\"\" width=\"1248\" height=\"1600\" class=\"aligncenter size-full wp-image-13960693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6.jpeg 1248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-800x1026.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-1020x1308.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-160x205.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-768x985.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-1198x1536.jpeg 1198w\" sizes=\"(max-width: 1248px) 100vw, 1248px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg\" alt=\"\" width=\"1240\" height=\"1600\" class=\"aligncenter size-full wp-image-13960692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1190x1536.jpeg 1190w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg\" alt=\"\" width=\"1245\" height=\"1600\" class=\"aligncenter size-full wp-image-13960691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg 1245w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-800x1028.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-1020x1311.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-768x987.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-1195x1536.jpeg 1195w\" sizes=\"(max-width: 1245px) 100vw, 1245px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9.jpeg\" alt=\"\" width=\"1242\" height=\"1600\" class=\"aligncenter size-full wp-image-13960690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-800x1031.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-1020x1314.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-160x206.jpeg 160w, 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sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland Ballers and a horde of loyal fans are building a new sports era in The Town.","status":"publish","parent":0,"modified":1720541121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":2},"headData":{"title":"The Oakland Ballers and Their Fans Are Building a New Baseball Era | KQED","description":"The Oakland Ballers and a horde of loyal fans are building a new sports era in The Town.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"The Oakland Ballers and Their Fans Are Building a New Baseball Era %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Summertime Baseball, Oakland Style","datePublished":"2024-07-09T09:00:00-07:00","dateModified":"2024-07-09T09:05:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"summertime-baseball-oakland-style","nprByline":"Jason Novak and Alan Chazaro","nprStoryId":"kqed-13960687","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13960687/oakland-ballers-baseball-summertime-fans","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg\" alt=\"\" width=\"1232\" height=\"1600\" class=\"aligncenter size-full wp-image-13960698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.1.jpeg 1232w, 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loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg\" alt=\"\" width=\"1247\" height=\"1600\" class=\"aligncenter size-full wp-image-13960694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5.jpeg 1247w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-800x1026.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1020x1309.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-160x205.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-768x985.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.5-1197x1536.jpeg 1197w\" sizes=\"(max-width: 1247px) 100vw, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.6-1198x1536.jpeg 1198w\" sizes=\"(max-width: 1248px) 100vw, 1248px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg\" alt=\"\" width=\"1240\" height=\"1600\" class=\"aligncenter size-full wp-image-13960692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.7-1190x1536.jpeg 1190w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg\" alt=\"\" width=\"1245\" height=\"1600\" class=\"aligncenter size-full wp-image-13960691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8.jpeg 1245w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-800x1028.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-1020x1311.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-768x987.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.8-1195x1536.jpeg 1195w\" sizes=\"(max-width: 1245px) 100vw, 1245px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9.jpeg\" alt=\"\" width=\"1242\" height=\"1600\" class=\"aligncenter size-full wp-image-13960690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-800x1031.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-1020x1314.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-768x989.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.9-1192x1536.jpeg 1192w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10.jpeg\" alt=\"\" width=\"1240\" height=\"1600\" class=\"aligncenter size-full wp-image-13960689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10.jpeg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ballers.10-1190x1536.jpeg 1190w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960687/oakland-ballers-baseball-summertime-fans","authors":["byline_arts_13960687"],"categories":["arts_1","arts_13238"],"tags":["arts_10092","arts_10342","arts_10278","arts_1143","arts_1551","arts_21764"],"featImg":"arts_13960708","label":"arts"},"arts_13961106":{"type":"posts","id":"arts_13961106","meta":{"index":"posts_1716263798","site":"arts","id":"13961106","score":null,"sort":[1720811944000]},"guestAuthors":[],"slug":"sing-sing-movie-review-colman-domingo-prison-theater-program","title":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","publishDate":1720811944,"format":"standard","headTitle":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>[aside postid='arts_13960599']The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13957481']By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>[aside postid='arts_13956038']For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","status":"publish","parent":0,"modified":1720811944,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1094},"headData":{"title":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story | KQED","description":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","datePublished":"2024-07-12T12:19:04-07:00","dateModified":"2024-07-12T12:19:04-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Aisha Harris, NPR","nprStoryId":"nx-s1-5029356","nprHtmlLink":"https://www.npr.org/2024/07/11/nx-s1-5029356/sing-sing-review-colman-domingo","nprRetrievedStory":"1","nprPubDate":"2024-07-12T07:00:00-04:00","nprStoryDate":"2024-07-12T07:00:00-04:00","nprLastModifiedDate":"2024-07-12T07:01:02.625-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960599","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957481","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956038","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\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>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","authors":["byline_arts_13961106"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74","arts_75","arts_967"],"tags":["arts_22214","arts_22085","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13961107","label":"arts_140"},"arts_13961051":{"type":"posts","id":"arts_13961051","meta":{"index":"posts_1716263798","site":"arts","id":"13961051","score":null,"sort":[1720744143000]},"guestAuthors":[],"slug":"sandwich-spot-hookah-lounge-redwood-city-late-night","title":"This Hookah Sandwich Lounge Is Redwood City’s Buzziest Late-Night Hotspot","publishDate":1720744143,"format":"aside","headTitle":"This Hookah Sandwich Lounge Is Redwood City’s Buzziest Late-Night Hotspot | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13961061\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961061\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH.jpg\" alt=\"Illustration: two men eat sandwiches on Dutch Crunch bread while a hookah pipe lets off a wisp of smoke behind them.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Redwood City’s The Sandwich Spot is a combination deli and late-night hookah lounge. \u003ccite>(Thien Pham)\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 graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. 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.\u003c/i>\u003c/p>\n\u003cp>I’m no \u003ca href=\"https://www.reddit.com/r/hookah/comments/4qc1zg/food_and_shisha_pairings/\">hookah food-pairing\u003c/a> expert, but I never would have guessed that a hot Dutch Crunch deli sandwich, dripping with garlic sauce, would be the perfect match for an hour-long session with the shisha pipe.\u003c/p>\n\u003cp>But that is the premise — and the genius — of \u003ca href=\"https://www.thesandwichspotrwc.com/\">The Sandwich Spot\u003c/a> in downtown Redwood City, a \u003ca href=\"https://www.thesandwichspot.com/about\">deli chain\u003c/a> outpost that stands apart from all of its sister locations in two important ways: 1) it’s open until at least midnight every night (1 a.m. on the weekend), and 2) the restaurant doubles as a vibey, slightly raucous hookah lounge in the evenings.\u003c/p>\n\u003cp>When we walked in at around 10:30 on a Friday night, it felt a little bit like we were pulling up to the club. On the left was a regular old sandwich counter, and there was a full bar on the right. But most of the real action was happening on the restaurant’s spacious covered patio, where the sound system blasted Kendrick Lamar and a mix of upbeat, danceable Arabic pop music while colorful disco lights made the floor and walls sparkle. Here, and in the long spillover tent on the sidewalk outside, big groups of twenty- and thirtysomethings sat around just kicking it — gossiping, talking shit and, of course, chomping down on some enormous sandwiches. Every once in a while, someone would take a deep drag on their hookah pipe and blow out a thick plume of smoke.\u003c/p>\n\u003cp>The place was so packed and boisterous, it felt like every single young(ish) person in Redwood City was there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truth be told, even just having the option to get a good, fresh sandwich — especially a hot one — at 11 o’clock at night feels nearly miraculous in the Bay Area. (Plenty of customers came through just to pick up takeout orders to bring home.) With \u003ca href=\"https://www.thesandwichspot.com/copy-of-menu-locations-1\">30 locations\u003c/a> mostly spread around California, The Sandwich Spot belongs in the Ike’s-like genre of uniquely Northern Californian deli chains, with its unusual ingredient combinations; quirky, localized names (the “Bumgarner,” the “Smokin’ Sequoia”); variously zesty, spicy and garlicky sauces; and excellent Dutch Crunch bread.\u003c/p>\n\u003cfigure id=\"attachment_13961065\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2.jpg\" alt=\"Illustration: Inside a bar, groups of friends chat. Hookah pipes with glowing red coals are placed next to the tables.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It felt like every young(ish) person in Redwood City was there — especially young Arab Americans and South Asians. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sandwich called The Hangover was like a slightly funkified Bay Area take on a club sandwich, with hot turkey, cream cheese, avocado, “Bomb” sauce (like a tangy hot sauce), garlicky Kassi sauce, and a lot of crispy bacon — extremely satisfying on warm Dutch Crunch. The equally tasty Purple Koosh, an original Redwood City creation available only on Fridays, was a smoky variation on a similarly saucy theme, featuring house-smoked chicken, fried onion strings and a tangle of purple coleslaw. To round out the meal, we had air-fried Cajun fries, which came out hot and crispy even if they didn’t seem particularly Cajun, with a side of \u003ca href=\"https://www.kqed.org/arts/13894684/toum-shawarmaji-jordanian-restaurant-oakland-garlic-sauce\">toum-like\u003c/a> garlic dipping sauce — a nod to the restaurant’s \u003ca href=\"https://www.thesandwichspotrwc.com/about\">Lebanese ownership\u003c/a>, perhaps — that made everything taste five times more delicious.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13960432,arts_13958926,arts_13955884']\u003c/span>\u003c/span>All the while we fiddled, like the total amateurs we were, with the hookah pipe we’d ordered — trying and failing and then finally succeeding at getting a decent puff of the mango mint flavored tobacco that we’d chosen, the little cubes of charcoal on top of the bowl glowing bright red as we got deeper into the night. The truth was, we felt a little bit out of place at first in this crowd of mostly college kids and recent college grads. Call it “Portrait of Two Lonely Middle-Aged Men at the Hookah Bar.”\u003c/p>\n\u003cp>But even if we’d started out a bit dubious about the hookah/sandwich concept, it didn’t take long for us to get caught up in the mood. I’ll leave it to the medical experts to pontificate on the \u003ca href=\"https://www.cdc.gov/tobacco/data_statistics/fact_sheets/tobacco_industry/hookahs/\">health risks\u003c/a> associated with long-term hookah use, but the water pipe’s efficacy as a social lubricant and builder of community and feel-good vibes seems self-evident — especially among the \u003ca href=\"https://www.nytimes.com/interactive/2023/07/20/style/hookah-dearborn-michigan.html\">young Arab Americans\u003c/a> and South Asians who made up a large chunk of The Sandwich Spot’s late-night crowd.\u003c/p>\n\u003cp>Sitting out on one of the sidewalk tables, with a cool breeze blowing through, we watched all those big groups of friends laughing and talking deep into the night, relaxed as can be, taking big bites of their sandwiches and blowing out even bigger puffs of smoke. Before long, we were already planning our return visit — because past 10 or 11 o’clock in Redwood City, what better way is there to pass a couple of pleasant hours with friends?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.thesandwichspotrwc.com/\">\u003ci>The Sandwich Spot\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday from 10 a.m.–midnight, Friday and Saturday 10 a.m.–1 a.m. and Sunday 11 a.m.–midnight at 2420 Broadway in Redwood City. After 5 p.m., when the lounge starts serving hookah, it’s a 21-and-over-only venue, and the kitchen closes at 11 p.m. daily.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Smoke, vibes and good Dutch Crunch at The Sandwich Spot.","status":"publish","parent":0,"modified":1720803749,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":953},"headData":{"title":"The Sandwich Spot Hookah Lounge Is Redwood City’s Late-Night Hotspot | KQED","description":"Smoke, vibes and good Dutch Crunch at The Sandwich Spot.","ogTitle":"This Hookah Sandwich Lounge Is Redwood City’s Buzziest Late-Night Hotspot","ogDescription":"","ogImgId":"","twTitle":"This Hookah Sandwich Lounge Is Redwood City’s Buzziest Late-Night Hotspot","twDescription":"","twImgId":"","socialTitle":"The Sandwich Spot Hookah Lounge Is Redwood City’s Late-Night Hotspot %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Hookah Sandwich Lounge Is Redwood City’s Buzziest Late-Night Hotspot","datePublished":"2024-07-11T17:29:03-07:00","dateModified":"2024-07-12T10:02:29-07:00","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-13961051","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961051/sandwich-spot-hookah-lounge-redwood-city-late-night","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961061\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961061\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH.jpg\" alt=\"Illustration: two men eat sandwiches on Dutch Crunch bread while a hookah pipe lets off a wisp of smoke behind them.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Redwood City’s The Sandwich Spot is a combination deli and late-night hookah lounge. \u003ccite>(Thien Pham)\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 graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. 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.\u003c/i>\u003c/p>\n\u003cp>I’m no \u003ca href=\"https://www.reddit.com/r/hookah/comments/4qc1zg/food_and_shisha_pairings/\">hookah food-pairing\u003c/a> expert, but I never would have guessed that a hot Dutch Crunch deli sandwich, dripping with garlic sauce, would be the perfect match for an hour-long session with the shisha pipe.\u003c/p>\n\u003cp>But that is the premise — and the genius — of \u003ca href=\"https://www.thesandwichspotrwc.com/\">The Sandwich Spot\u003c/a> in downtown Redwood City, a \u003ca href=\"https://www.thesandwichspot.com/about\">deli chain\u003c/a> outpost that stands apart from all of its sister locations in two important ways: 1) it’s open until at least midnight every night (1 a.m. on the weekend), and 2) the restaurant doubles as a vibey, slightly raucous hookah lounge in the evenings.\u003c/p>\n\u003cp>When we walked in at around 10:30 on a Friday night, it felt a little bit like we were pulling up to the club. On the left was a regular old sandwich counter, and there was a full bar on the right. But most of the real action was happening on the restaurant’s spacious covered patio, where the sound system blasted Kendrick Lamar and a mix of upbeat, danceable Arabic pop music while colorful disco lights made the floor and walls sparkle. Here, and in the long spillover tent on the sidewalk outside, big groups of twenty- and thirtysomethings sat around just kicking it — gossiping, talking shit and, of course, chomping down on some enormous sandwiches. Every once in a while, someone would take a deep drag on their hookah pipe and blow out a thick plume of smoke.\u003c/p>\n\u003cp>The place was so packed and boisterous, it felt like every single young(ish) person in Redwood City was there.\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>Truth be told, even just having the option to get a good, fresh sandwich — especially a hot one — at 11 o’clock at night feels nearly miraculous in the Bay Area. (Plenty of customers came through just to pick up takeout orders to bring home.) With \u003ca href=\"https://www.thesandwichspot.com/copy-of-menu-locations-1\">30 locations\u003c/a> mostly spread around California, The Sandwich Spot belongs in the Ike’s-like genre of uniquely Northern Californian deli chains, with its unusual ingredient combinations; quirky, localized names (the “Bumgarner,” the “Smokin’ Sequoia”); variously zesty, spicy and garlicky sauces; and excellent Dutch Crunch bread.\u003c/p>\n\u003cfigure id=\"attachment_13961065\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2.jpg\" alt=\"Illustration: Inside a bar, groups of friends chat. Hookah pipes with glowing red coals are placed next to the tables.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SH2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It felt like every young(ish) person in Redwood City was there — especially young Arab Americans and South Asians. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sandwich called The Hangover was like a slightly funkified Bay Area take on a club sandwich, with hot turkey, cream cheese, avocado, “Bomb” sauce (like a tangy hot sauce), garlicky Kassi sauce, and a lot of crispy bacon — extremely satisfying on warm Dutch Crunch. The equally tasty Purple Koosh, an original Redwood City creation available only on Fridays, was a smoky variation on a similarly saucy theme, featuring house-smoked chicken, fried onion strings and a tangle of purple coleslaw. To round out the meal, we had air-fried Cajun fries, which came out hot and crispy even if they didn’t seem particularly Cajun, with a side of \u003ca href=\"https://www.kqed.org/arts/13894684/toum-shawarmaji-jordanian-restaurant-oakland-garlic-sauce\">toum-like\u003c/a> garlic dipping sauce — a nod to the restaurant’s \u003ca href=\"https://www.thesandwichspotrwc.com/about\">Lebanese ownership\u003c/a>, perhaps — that made everything taste five times more delicious.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960432,arts_13958926,arts_13955884","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>All the while we fiddled, like the total amateurs we were, with the hookah pipe we’d ordered — trying and failing and then finally succeeding at getting a decent puff of the mango mint flavored tobacco that we’d chosen, the little cubes of charcoal on top of the bowl glowing bright red as we got deeper into the night. The truth was, we felt a little bit out of place at first in this crowd of mostly college kids and recent college grads. Call it “Portrait of Two Lonely Middle-Aged Men at the Hookah Bar.”\u003c/p>\n\u003cp>But even if we’d started out a bit dubious about the hookah/sandwich concept, it didn’t take long for us to get caught up in the mood. I’ll leave it to the medical experts to pontificate on the \u003ca href=\"https://www.cdc.gov/tobacco/data_statistics/fact_sheets/tobacco_industry/hookahs/\">health risks\u003c/a> associated with long-term hookah use, but the water pipe’s efficacy as a social lubricant and builder of community and feel-good vibes seems self-evident — especially among the \u003ca href=\"https://www.nytimes.com/interactive/2023/07/20/style/hookah-dearborn-michigan.html\">young Arab Americans\u003c/a> and South Asians who made up a large chunk of The Sandwich Spot’s late-night crowd.\u003c/p>\n\u003cp>Sitting out on one of the sidewalk tables, with a cool breeze blowing through, we watched all those big groups of friends laughing and talking deep into the night, relaxed as can be, taking big bites of their sandwiches and blowing out even bigger puffs of smoke. Before long, we were already planning our return visit — because past 10 or 11 o’clock in Redwood City, what better way is there to pass a couple of pleasant hours with friends?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.thesandwichspotrwc.com/\">\u003ci>The Sandwich Spot\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday from 10 a.m.–midnight, Friday and Saturday 10 a.m.–1 a.m. and Sunday 11 a.m.–midnight at 2420 Broadway in Redwood City. After 5 p.m., when the lounge starts serving hookah, it’s a 21-and-over-only venue, and the kitchen closes at 11 p.m. daily.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961051/sandwich-spot-hookah-lounge-redwood-city-late-night","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_22213","arts_10278","arts_1297","arts_8805","arts_22210","arts_4076","arts_22211","arts_21928"],"featImg":"arts_13961063","label":"source_arts_13961051"},"arts_13960933":{"type":"posts","id":"arts_13960933","meta":{"index":"posts_1716263798","site":"arts","id":"13960933","score":null,"sort":[1720711853000]},"guestAuthors":[],"slug":"man-must-wak-west-african-market-a-new-restaurant-oakland-lake-merritt","title":"Beloved African and Caribbean Market Is Opening a New Restaurant in Oakland","publishDate":1720711853,"format":"standard","headTitle":"Beloved African and Caribbean Market Is Opening a New Restaurant in Oakland | KQED","labelTerm":{},"content":"\u003cp>A few weeks ago on a formerly quiet corner near Lake Merritt, anyone buzzing by on 18th Street might have spotted a freshly painted building in juicy mango yellow. A small crowd gathered around a colorful mural while tables and umbrellas spilled across the parking lot and the smoky scent of jollof rice and jerk chicken filled the air.\u003c/p>\n\u003cp>Welcome to the new flagship for \u003ca href=\"https://manmustwak.net\">Man Must Wak\u003c/a>, one of the few African and Caribbean markets in the Bay Area. The store celebrated the grand opening of its new Oakland location on Saturday, June 15, and announced plans to build out a fast-casual restaurant on the premises by summer 2025. “This is a decades-long dream,” says owner Queenkay Amamgbo. “I wanted a place where I could have a kitchen and a parking lot.”\u003c/p>\n\u003cp>Man Must Wak has been serving the community for 26 years. “It’s one of the first African grocery stores in the Bay Area,” says Kemi Tijaniqudus of \u003ca href=\"https://thejollofkitchen.com\">Jollof Kitchen\u003c/a>, the Nigerian food truck. “That’s where I started going since the minute I stepped into this country.” She’s one of many local chefs who are regulars, along with Frantz Felix of \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a> and Roxanne Mosley of \u003ca href=\"https://sweetfingersrestaurant.com\">Sweet Fingers\u003c/a>. The original market on 8th Street in Old Oakland is the place to go for hard-to-find ingredients that offer a taste of home, like goat, stockfish, egusi (melon seeds) and plantain chips.\u003c/p>\n\u003cp>Amamgbo, the owner, grew up in Lagos and comes from the Igbo tribe of southeast Nigeria. She moved to the States when she was 18 to live with an aunt in Washington, D.C., before continuing to Hollywood to pursue a career in acting. There she met her first husband Charles Emeka Amamgbo, a businessman headed to Holland or back to Nigeria. The couple compromised and settled in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13960959\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed.jpg\" alt=\"Afro-Caribbean market Man Must Wak's bright yellow storefront with a mural depicting a woman strolling through a bustling African outdoor market.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The market’s new location — just a couple of blocks away from Lake Merritt — will eventually feature a fast-casual restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charles opened the original Man Must Wak in downtown Oakland in 1998. Amamgbo says he was tired of working for European companies and loved serving the West African community. “He liked to help people. People came in for advice and to seek solace,” Amamgbo says. “I learned a lot from him, that you should have a safe space for people to come to.” The name Man Must Wak literally means “man must eat” in Nigerian Pidgin, so it’s slang for a universal truth: “Whether you’re paying with EBT or an Amex Black Card, we’ve all gotta eat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charles died from leukemia in 2007 at only 43 years old. Amamgbo became a young widow at 33, with their two little boys then six and three. She had been busy working a corporate job and taking care of a sick husband. She knew the vendors and customers at the market but hadn’t looked at the books. When she inherited Man Must Wak, she realized the business was $100,000 in debt, had not paid taxes for four or five years, and was behind on payments to vendors.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13936332,arts_13960580']\u003c/span>\u003c/span>She ran Man Must Wak by herself as a single mom for the next decade, with the support of close family and friends and loyal employees. In the beginning, she heard some people placed bets on how many months she would last before she closed shop and moved back to L.A. “I just went tunnel-vision and focused on survival mode,” Amamgbo says. “It’s through tragedy or loss that you know who really cares about you.”\u003c/p>\n\u003cp>Years later, a lady from church told Amamgbo to get coffee with this “really nice guy.” Amamgbo recognized Dennis Itua, a former customer who had moved away for a few years. She liked his dimples and creative streak as an interior designer, but wasn’t convinced — “he was very quiet.” When they did finally get together, Itua said, “You just be your Oprah, and I’ll be your Stedman,” referring to the TV star’s longtime partner. A couple of years ago, when the real Stedman Graham came into Man Must Wak, Itua happened to be in the shop to casually greet the celebrity. Shoppers in the store were delighted and it blew up on Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13960860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL.jpg\" alt=\"A married couple shares a laugh while standing behind the counter inside the market they run.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo and husband Dennis Itua stand behind the counter at the E. 18th Street location of Man Must Wak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple got married in 2017, and Itua has been an integral part of the business ever since. Along with their three boys: Chika Amamgbo (22 years old) recently graduated from Howard University, Lota Amamgbo (19) is going to study arts at SF State and Ero Itua (20) is at film school in L.A. They’ve all worked weekends and summers stocking shelves and bagging groceries. “We want to build a strong, solid legacy,” Amamgbo says. “You don’t have to work here, but this is going to be something you can be part of and run.”\u003c/p>\n\u003cp>The new market by Lake Merritt will eventually be triple the size of the original. Amamgbo took out an SBA loan to buy the entire standalone building. The market itself is 7,500 square feet, the parking lot is 2,000 square feet and they plan to build out and up, adding an extension and rooftop deck. For now, they started with a fresh coat of yellow paint and rolled in shelves. Amamgbo’s nephew, the artist Gabriel Olubori Babaoye, painted the mural on the storefront, inspired by an African woman wading through a bustling market. The big renovation is still to come, but the vision for the fast-casual restaurant is a hot bar lined with steaming trays of grilled meats, fried rice and more. So you’ll swing through the door, hit the hot bar right in the center, peruse the market over to the left, and snag a seat at one of the tables outside.\u003c/p>\n\u003cfigure id=\"attachment_13960962\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize.jpg\" alt=\"Meat cooking on a grill.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Meat sizzling on the grill during Man Must Wak’s grand opening event on June 15, 2024. \u003ccite>(Joseph Sintum Photography, courtesy of Man Must Wak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960946\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed.jpg\" alt=\"A woman shows off a bag of Scotch bonnet peppers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo shows off a package of frozen Scotch bonnet peppers — just one of the many Afro-Caribbean specialty ingredients her market carries. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plan to add the restaurant by summer 2025. Itua, the chef of the family, grew up in hospitality — his father owned hotels, restaurants and bakeries in Nigeria. He’s been cooking behind the scenes for years, handling all of the prepared foods and catering. “It’ll be a fusion of African and Caribbean cuisine,” Amamgbo says. “The best of both worlds.” She’s already talking big game about their jollof rice. “The best Nigerian jollof rice. Period.” Itua’s specialty is a whole fish which he seasons and grills “to perfection.” Jamaican favorites will include curry goat and jerk chicken, along with spinach sauce, okra sauce and moi moi (bean pudding).\u003c/p>\n\u003cp>For longtime fans of the Man Must Wak, it’ll be exciting to swing by and try hot items for the first time. And for a whole new audience of Oakland diners, it’s a rare opportunity to taste West African home cooking in a central location. Star chef Pierre Thiam, who just made the \u003ca href=\"https://www.instagram.com/p/C8J_y75yhdm/?hl=en&img_index=1\">James Beard Cookbook Hall of Fame\u003c/a>, says he can’t wait. “West African cuisine is finally getting recognized worldwide,” Thiam says. He cites restaurants like \u003ca href=\"https://www.tatiananyc.com\">Tatiana\u003c/a> in New York, an impossible-to-get reservation, and \u003ca href=\"https://guide.michelin.com/us/en/greater-london/london/restaurant/ikoyi\">Ikoyi\u003c/a> and \u003ca href=\"https://guide.michelin.com/us/en/greater-london/london/restaurant/akoko\">Akoko\u003c/a> in London, which finally snagged Michelin stars, and insists it’s just as important to have an accessible market and restaurant in the heart of Oakland.\u003c/p>\n\u003cp>“She’s a strong personality. She’s a queen,” he says of Amamgbo. “You have to respect that … Culture is so powerful, and that really is a blessing for us West Africans to have a place like that, and it’s a blessing for others who haven’t experienced it before.”\u003c/p>\n\u003cfigure id=\"attachment_13960964\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed.jpg\" alt=\"A man and woman stand in front of the yellow mural that decorates the front of their Afro-Caribbean market.\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo and Itua stand in front of their new Lake Merritt storefront. The restaurant portion of the business is expected to open in summer 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, while the restaurant is still in the works, Amamgbo plans to get this party started. The new market is already fully open for business, and Itua will be firing up the grill for more events in the parking lot this summer.\u003c/p>\n\u003cp>“We are your home away from home, a place where you go to feel loved and accepted,” Amamgbo says. “You’re not judged for being too loud, because we are loud.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Man Must Wak’s new market and forthcoming restaurant is located at 401 E. 18th St. in Oakland, near Lake Merritt; its current hours are 9:30 a.m. to 6:30 p.m. daily. The original Old Oakland location remains open 9:30 a.m. to 6:30 p.m. daily at 547 8th St. Follow the market’s \u003c/i>\u003ca href=\"https://www.instagram.com/manmustwak/?hl=en\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> page for updates and details about upcoming events.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Man Must Wak opened a new market location on June 15 and plans to add a fast-casual restaurant by summer 2025.","status":"publish","parent":0,"modified":1720802579,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1595},"headData":{"title":"Beloved Afro-Caribbean Market Will Open a Restaurant in Oakland | KQED","description":"Man Must Wak opened a new market location on June 15 and plans to add a fast-casual restaurant by summer 2025.","ogTitle":"Beloved African and Caribbean Market Is Opening a New Restaurant in Oakland","ogDescription":"","ogImgId":"","twTitle":"Beloved African and Caribbean Market Is Opening a New Restaurant in Oakland","twDescription":"","twImgId":"","socialTitle":"Beloved Afro-Caribbean Market Will Open a Restaurant in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Beloved African and Caribbean Market Is Opening a New Restaurant in Oakland","datePublished":"2024-07-11T08:30:53-07:00","dateModified":"2024-07-12T09:42:59-07:00","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-13960933","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960933/man-must-wak-west-african-market-a-new-restaurant-oakland-lake-merritt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago on a formerly quiet corner near Lake Merritt, anyone buzzing by on 18th Street might have spotted a freshly painted building in juicy mango yellow. A small crowd gathered around a colorful mural while tables and umbrellas spilled across the parking lot and the smoky scent of jollof rice and jerk chicken filled the air.\u003c/p>\n\u003cp>Welcome to the new flagship for \u003ca href=\"https://manmustwak.net\">Man Must Wak\u003c/a>, one of the few African and Caribbean markets in the Bay Area. The store celebrated the grand opening of its new Oakland location on Saturday, June 15, and announced plans to build out a fast-casual restaurant on the premises by summer 2025. “This is a decades-long dream,” says owner Queenkay Amamgbo. “I wanted a place where I could have a kitchen and a parking lot.”\u003c/p>\n\u003cp>Man Must Wak has been serving the community for 26 years. “It’s one of the first African grocery stores in the Bay Area,” says Kemi Tijaniqudus of \u003ca href=\"https://thejollofkitchen.com\">Jollof Kitchen\u003c/a>, the Nigerian food truck. “That’s where I started going since the minute I stepped into this country.” She’s one of many local chefs who are regulars, along with Frantz Felix of \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a> and Roxanne Mosley of \u003ca href=\"https://sweetfingersrestaurant.com\">Sweet Fingers\u003c/a>. The original market on 8th Street in Old Oakland is the place to go for hard-to-find ingredients that offer a taste of home, like goat, stockfish, egusi (melon seeds) and plantain chips.\u003c/p>\n\u003cp>Amamgbo, the owner, grew up in Lagos and comes from the Igbo tribe of southeast Nigeria. She moved to the States when she was 18 to live with an aunt in Washington, D.C., before continuing to Hollywood to pursue a career in acting. There she met her first husband Charles Emeka Amamgbo, a businessman headed to Holland or back to Nigeria. The couple compromised and settled in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13960959\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed.jpg\" alt=\"Afro-Caribbean market Man Must Wak's bright yellow storefront with a mural depicting a woman strolling through a bustling African outdoor market.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-42-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The market’s new location — just a couple of blocks away from Lake Merritt — will eventually feature a fast-casual restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charles opened the original Man Must Wak in downtown Oakland in 1998. Amamgbo says he was tired of working for European companies and loved serving the West African community. “He liked to help people. People came in for advice and to seek solace,” Amamgbo says. “I learned a lot from him, that you should have a safe space for people to come to.” The name Man Must Wak literally means “man must eat” in Nigerian Pidgin, so it’s slang for a universal truth: “Whether you’re paying with EBT or an Amex Black Card, we’ve all gotta eat.”\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>Charles died from leukemia in 2007 at only 43 years old. Amamgbo became a young widow at 33, with their two little boys then six and three. She had been busy working a corporate job and taking care of a sick husband. She knew the vendors and customers at the market but hadn’t looked at the books. When she inherited Man Must Wak, she realized the business was $100,000 in debt, had not paid taxes for four or five years, and was behind on payments to vendors.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936332,arts_13960580","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>She ran Man Must Wak by herself as a single mom for the next decade, with the support of close family and friends and loyal employees. In the beginning, she heard some people placed bets on how many months she would last before she closed shop and moved back to L.A. “I just went tunnel-vision and focused on survival mode,” Amamgbo says. “It’s through tragedy or loss that you know who really cares about you.”\u003c/p>\n\u003cp>Years later, a lady from church told Amamgbo to get coffee with this “really nice guy.” Amamgbo recognized Dennis Itua, a former customer who had moved away for a few years. She liked his dimples and creative streak as an interior designer, but wasn’t convinced — “he was very quiet.” When they did finally get together, Itua said, “You just be your Oprah, and I’ll be your Stedman,” referring to the TV star’s longtime partner. A couple of years ago, when the real Stedman Graham came into Man Must Wak, Itua happened to be in the shop to casually greet the celebrity. Shoppers in the store were delighted and it blew up on Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13960860\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL.jpg\" alt=\"A married couple shares a laugh while standing behind the counter inside the market they run.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-12-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo and husband Dennis Itua stand behind the counter at the E. 18th Street location of Man Must Wak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple got married in 2017, and Itua has been an integral part of the business ever since. Along with their three boys: Chika Amamgbo (22 years old) recently graduated from Howard University, Lota Amamgbo (19) is going to study arts at SF State and Ero Itua (20) is at film school in L.A. They’ve all worked weekends and summers stocking shelves and bagging groceries. “We want to build a strong, solid legacy,” Amamgbo says. “You don’t have to work here, but this is going to be something you can be part of and run.”\u003c/p>\n\u003cp>The new market by Lake Merritt will eventually be triple the size of the original. Amamgbo took out an SBA loan to buy the entire standalone building. The market itself is 7,500 square feet, the parking lot is 2,000 square feet and they plan to build out and up, adding an extension and rooftop deck. For now, they started with a fresh coat of yellow paint and rolled in shelves. Amamgbo’s nephew, the artist Gabriel Olubori Babaoye, painted the mural on the storefront, inspired by an African woman wading through a bustling market. The big renovation is still to come, but the vision for the fast-casual restaurant is a hot bar lined with steaming trays of grilled meats, fried rice and more. So you’ll swing through the door, hit the hot bar right in the center, peruse the market over to the left, and snag a seat at one of the tables outside.\u003c/p>\n\u003cfigure id=\"attachment_13960962\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize.jpg\" alt=\"Meat cooking on a grill.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/A7400282_websize-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Meat sizzling on the grill during Man Must Wak’s grand opening event on June 15, 2024. \u003ccite>(Joseph Sintum Photography, courtesy of Man Must Wak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960946\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed.jpg\" alt=\"A woman shows off a bag of Scotch bonnet peppers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-26-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo shows off a package of frozen Scotch bonnet peppers — just one of the many Afro-Caribbean specialty ingredients her market carries. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plan to add the restaurant by summer 2025. Itua, the chef of the family, grew up in hospitality — his father owned hotels, restaurants and bakeries in Nigeria. He’s been cooking behind the scenes for years, handling all of the prepared foods and catering. “It’ll be a fusion of African and Caribbean cuisine,” Amamgbo says. “The best of both worlds.” She’s already talking big game about their jollof rice. “The best Nigerian jollof rice. Period.” Itua’s specialty is a whole fish which he seasons and grills “to perfection.” Jamaican favorites will include curry goat and jerk chicken, along with spinach sauce, okra sauce and moi moi (bean pudding).\u003c/p>\n\u003cp>For longtime fans of the Man Must Wak, it’ll be exciting to swing by and try hot items for the first time. And for a whole new audience of Oakland diners, it’s a rare opportunity to taste West African home cooking in a central location. Star chef Pierre Thiam, who just made the \u003ca href=\"https://www.instagram.com/p/C8J_y75yhdm/?hl=en&img_index=1\">James Beard Cookbook Hall of Fame\u003c/a>, says he can’t wait. “West African cuisine is finally getting recognized worldwide,” Thiam says. He cites restaurants like \u003ca href=\"https://www.tatiananyc.com\">Tatiana\u003c/a> in New York, an impossible-to-get reservation, and \u003ca href=\"https://guide.michelin.com/us/en/greater-london/london/restaurant/ikoyi\">Ikoyi\u003c/a> and \u003ca href=\"https://guide.michelin.com/us/en/greater-london/london/restaurant/akoko\">Akoko\u003c/a> in London, which finally snagged Michelin stars, and insists it’s just as important to have an accessible market and restaurant in the heart of Oakland.\u003c/p>\n\u003cp>“She’s a strong personality. She’s a queen,” he says of Amamgbo. “You have to respect that … Culture is so powerful, and that really is a blessing for us West Africans to have a place like that, and it’s a blessing for others who haven’t experienced it before.”\u003c/p>\n\u003cfigure id=\"attachment_13960964\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed.jpg\" alt=\"A man and woman stand in front of the yellow mural that decorates the front of their Afro-Caribbean market.\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240709-ManMustWak2-08-BL_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Amamgbo and Itua stand in front of their new Lake Merritt storefront. The restaurant portion of the business is expected to open in summer 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, while the restaurant is still in the works, Amamgbo plans to get this party started. The new market is already fully open for business, and Itua will be firing up the grill for more events in the parking lot this summer.\u003c/p>\n\u003cp>“We are your home away from home, a place where you go to feel loved and accepted,” Amamgbo says. “You’re not judged for being too loud, because we are loud.”\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>\u003ci>Man Must Wak’s new market and forthcoming restaurant is located at 401 E. 18th St. in Oakland, near Lake Merritt; its current hours are 9:30 a.m. to 6:30 p.m. daily. The original Old Oakland location remains open 9:30 a.m. to 6:30 p.m. daily at 547 8th St. Follow the market’s \u003c/i>\u003ca href=\"https://www.instagram.com/manmustwak/?hl=en\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> page for updates and details about upcoming events.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960933/man-must-wak-west-african-market-a-new-restaurant-oakland-lake-merritt","authors":["11902"],"categories":["arts_1","arts_12276"],"tags":["arts_2438","arts_21619","arts_10278","arts_1297","arts_1785","arts_1143","arts_15755","arts_21774"],"featImg":"arts_13960943","label":"source_arts_13960933"},"arts_13960360":{"type":"posts","id":"arts_13960360","meta":{"index":"posts_1716263798","site":"arts","id":"13960360","score":null,"sort":[1720473139000]},"guestAuthors":[],"slug":"peruvian-tea-coffee-papachay-emoliente-san-carlos-mountain-view","title":"A Hidden Cafe on the Peninsula Serves Rare Peruvian Coffee and Tea","publishDate":1720473139,"format":"standard","headTitle":"A Hidden Cafe on the Peninsula Serves Rare Peruvian Coffee and Tea | KQED","labelTerm":{},"content":"\u003cp>For the average Bay Area caffeine seeker, Peruvian coffee and tea probably aren’t very high on the list of familiar options. Yet, Peru is \u003ca href=\"https://teajourney.pub/tea-in-peru/\">one of the highest tea-consuming nations in the Western Hemisphere\u003c/a>, largely due to the country’s high elevation. (In townships along the Andean peaks, tea made with coca leaves — of cocaine fame — is believed to prevent altitude sickness.) Peruvians have also become increasingly fond of coffee in recent years.\u003c/p>\n\u003cp>But many Bay Area residents probably have never even heard of Peru’s choice beverages, let alone know where to get them. And who can blame them? Though Peruvian cuisine has done extremely well in our region — from local restaurant chains like Limón to smaller mom-and-pop shops like El Cerrito’s El Mono — there isn’t much of a Peruvian cafe scene to speak of.\u003c/p>\n\u003cp>So when I came across \u003ca href=\"https://www.instagram.com/papachayperuviancoffee/\">Papachay\u003c/a>, a husband-and-wife-owned brick-and-mortar located on a sleepy back street in the Peninsula city of San Carlos, I made my trek over. (In Quechan, an indigenous language in Peru, papachay is akin to saying “what’s up?” to a male friend; “mamay” is used to greet women).\u003c/p>\n\u003cfigure id=\"attachment_13960416\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960416\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-scaled.jpg\" alt=\"a man prepares a cup of fresh coffee inside a Peruvian cafe\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maximiliano Gambirazio, a Peruvian immigrant, has been operating Papachay for nearly 20 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The business is masterminded by Maximiliano Gambirazio (originally from Peru) and Juliana Zieira-Gambirazio (a Brazilian immigrant). Impressively, the couple started out in their San Carlos warehouse nearly 20 years ago, when they sold raw coffee beans to roasters before buying a roasting machine of their own and expanding their business to include wholesale roasted coffee. Now, they run a full-fledged cafe — which opened in 2018 — and pop up every Sunday at the \u003ca href=\"https://www.cafarmersmkts.com/mountain-view-farmers-market\">Mountain View Farmers’ Market\u003c/a>.\u003c/p>\n\u003cp>“It all started spreading by word of mouth. We would get notes under the door of people asking us to call [them] so they could visit to buy fresh brewed coffee,” Zieira-Gambirazio says. “That pushed us to open [the cafe], and we started getting a crowd of people. After that, we had some calls to the fire department because of the smoke coming from all the roasting we were doing. [The fire department] told us to put a sign that we’re coffee roasters. That brought us more people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zieira-Gambirazio isn’t aware of any other strictly Peruvian cafes in the greater Bay Area. What Papachay is doing might be unmatched. That’s because the couple owns two coffee farms in Peru — in a highly elevated rainforest on the eastern slope of the Andes, near the small town of Villa Rica. With the help of a family, they source their organic coffee beans directly from these farms. Translation: they’re legit.\u003c/p>\n\u003cp>Specializing in Peruvian-origin coffee — as the massive “Peruvian Coffee” sign announces from the rooftop, like a 1920s hotel in Beverly Hills — the shop also sells Peruvian chocolate and Brazilian treats like pão de queijo (Brazilian cheese balls). But what caught my eye more than anything were the Peruvian teas. At its Sunday farmers market stand, the cafe brews emoliente, a mix of flax seed, plantain leaf, alfalfa sprout, toasted barley, Andean horsetail herb, cinnamon and cat’s claw bark. Native to Peru, the refreshing herbal drink is believed to help with digestive, circulatory and respiratory issues. The medicinal tea tastes earthy but not bitter, toasted but not burnt, balanced but not bland.\u003c/p>\n\u003cp>“Emoliente is a very common drink in Peru. You often see it being prepared and sold on the street. Everybody has their own recipe. We make ours from scratch,” says Zieira-Gambirazio.\u003c/p>\n\u003cfigure id=\"attachment_13960419\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960419\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-scaled.jpg\" alt=\"dried coffee fruit pulp \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cascara, the dried skin and pulp of discarded coffee cherries, is used to brew an increasingly popular beverage in Peru. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Papachay also serves cascara, a tea-like beverage made from boiling the skin and pulp of dried coffee fruit husks to make a drink that has recently become more popular in Peru.\u003c/p>\n\u003cp>“I don’t see many people having that in the Bay Area, or even in Peru, really,” she continues. “It’s new to Peruvians. It’s a mix of fruit flavor with a green tea texture on your tongue.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13932089,arts_13930727,arts_13928571']\u003c/span>\u003c/span>The reason you may have never heard of Peruvian cascara, or any other Peruvian coffee products for that matter, is due to the country’s internal political turmoil dating back to the 1980s, when \u003ca href=\"https://webarchive.archive.unhcr.org/20230521173955/https://www.refworld.org/docid/3f51fd694.html\">insurgent groups like Sendero Luminoso (the Shining Path) occupied isolated territories in Peru\u003c/a> that otherwise could have been used to cultivate coffee. Byproducts of the coffee industry such as cascara were therefore less available for decades. Instead, tea became popularized as the nation’s drink of choice, leading to emoliente’s rise.\u003c/p>\n\u003cp>When I first encountered Papachay at the Mountain View Farmers’ Market, a long line of coffee drinkers waited for their lattes and cold brew. Naturally, I ordered emoliente, something I’d never heard of until then. Though the drink is typically served hot, I asked to enjoy it with ice — something the owners were happy to do. After a few sips and light conversation with the friendly Latin Americans, they mentioned having a shop a few miles north.\u003c/p>\n\u003cfigure id=\"attachment_13960417\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-scaled.jpg\" alt=\"an imported coffee bag of Peruvian coffee beans\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Papachay imports their coffee beans directly from Villa Rica, Peru. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some days later, I made the drive over to their home base in San Carlos. That’s where I ordered cascara. It isn’t the kind of sugary morning drink you might find at Starbucks or Dunkin’ Donuts. Instead, the old-world beverage — which predates coffee itself — is a tangy mix of sweet and sour notes, most reminiscent of tamarind. Like emoliente, it’s consumed in Peru’s high-altitude areas and beloved for its health properties and organic freshness.\u003c/p>\n\u003cp>Although it provides a jolt of caffeine, it’s not meant to zap you awake with a quick rush of energy. Rather, Peruvian culture — and its teas — are meant for the long haul, for those steady uphill climbs (think Machu Picchu). Both cascara and emoliente share a smooth drinkability that doesn’t feel like it should be solely limited to a morning commute. In fact, most Peruvians prefer to drink cascara and emoliente in the evenings.\u003c/p>\n\u003cp>Perhaps I’ll start to do the same.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/papachayperuviancoffee/\">\u003ci>Papachay Peruvian Coffee\u003c/i>\u003c/a>\u003ci> (1431 Old County Rd., San Carlos) is open Mon. through Fri. from 7 a.m. to 2 p.m. Every Sunday, they can be found at the \u003ca href=\"https://www.cafarmersmkts.com/mountain-view-farmers-market\">Mountain View Farmers’ Market\u003c/a> (600 W. Evelyn Ave., Mountain View) from 9 a.m. to 1 p.m.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Papachay is bringing Peru's high-altitude emoliente and cascara culture to the Bay.","status":"publish","parent":0,"modified":1720473139,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1153},"headData":{"title":"A Hidden Cafe on the Peninsula Serves Rare Peruvian Coffee and Tea | KQED","description":"Papachay is bringing Peru's high-altitude emoliente and cascara culture to the Bay.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Hidden Cafe on the Peninsula Serves Rare Peruvian Coffee and Tea","datePublished":"2024-07-08T14:12:19-07:00","dateModified":"2024-07-08T14:12:19-07:00","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-13960360","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960360/peruvian-tea-coffee-papachay-emoliente-san-carlos-mountain-view","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the average Bay Area caffeine seeker, Peruvian coffee and tea probably aren’t very high on the list of familiar options. Yet, Peru is \u003ca href=\"https://teajourney.pub/tea-in-peru/\">one of the highest tea-consuming nations in the Western Hemisphere\u003c/a>, largely due to the country’s high elevation. (In townships along the Andean peaks, tea made with coca leaves — of cocaine fame — is believed to prevent altitude sickness.) Peruvians have also become increasingly fond of coffee in recent years.\u003c/p>\n\u003cp>But many Bay Area residents probably have never even heard of Peru’s choice beverages, let alone know where to get them. And who can blame them? Though Peruvian cuisine has done extremely well in our region — from local restaurant chains like Limón to smaller mom-and-pop shops like El Cerrito’s El Mono — there isn’t much of a Peruvian cafe scene to speak of.\u003c/p>\n\u003cp>So when I came across \u003ca href=\"https://www.instagram.com/papachayperuviancoffee/\">Papachay\u003c/a>, a husband-and-wife-owned brick-and-mortar located on a sleepy back street in the Peninsula city of San Carlos, I made my trek over. (In Quechan, an indigenous language in Peru, papachay is akin to saying “what’s up?” to a male friend; “mamay” is used to greet women).\u003c/p>\n\u003cfigure id=\"attachment_13960416\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960416\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-scaled.jpg\" alt=\"a man prepares a cup of fresh coffee inside a Peruvian cafe\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3145-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maximiliano Gambirazio, a Peruvian immigrant, has been operating Papachay for nearly 20 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The business is masterminded by Maximiliano Gambirazio (originally from Peru) and Juliana Zieira-Gambirazio (a Brazilian immigrant). Impressively, the couple started out in their San Carlos warehouse nearly 20 years ago, when they sold raw coffee beans to roasters before buying a roasting machine of their own and expanding their business to include wholesale roasted coffee. Now, they run a full-fledged cafe — which opened in 2018 — and pop up every Sunday at the \u003ca href=\"https://www.cafarmersmkts.com/mountain-view-farmers-market\">Mountain View Farmers’ Market\u003c/a>.\u003c/p>\n\u003cp>“It all started spreading by word of mouth. We would get notes under the door of people asking us to call [them] so they could visit to buy fresh brewed coffee,” Zieira-Gambirazio says. “That pushed us to open [the cafe], and we started getting a crowd of people. After that, we had some calls to the fire department because of the smoke coming from all the roasting we were doing. [The fire department] told us to put a sign that we’re coffee roasters. That brought us more people.”\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>Zieira-Gambirazio isn’t aware of any other strictly Peruvian cafes in the greater Bay Area. What Papachay is doing might be unmatched. That’s because the couple owns two coffee farms in Peru — in a highly elevated rainforest on the eastern slope of the Andes, near the small town of Villa Rica. With the help of a family, they source their organic coffee beans directly from these farms. Translation: they’re legit.\u003c/p>\n\u003cp>Specializing in Peruvian-origin coffee — as the massive “Peruvian Coffee” sign announces from the rooftop, like a 1920s hotel in Beverly Hills — the shop also sells Peruvian chocolate and Brazilian treats like pão de queijo (Brazilian cheese balls). But what caught my eye more than anything were the Peruvian teas. At its Sunday farmers market stand, the cafe brews emoliente, a mix of flax seed, plantain leaf, alfalfa sprout, toasted barley, Andean horsetail herb, cinnamon and cat’s claw bark. Native to Peru, the refreshing herbal drink is believed to help with digestive, circulatory and respiratory issues. The medicinal tea tastes earthy but not bitter, toasted but not burnt, balanced but not bland.\u003c/p>\n\u003cp>“Emoliente is a very common drink in Peru. You often see it being prepared and sold on the street. Everybody has their own recipe. We make ours from scratch,” says Zieira-Gambirazio.\u003c/p>\n\u003cfigure id=\"attachment_13960419\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960419\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-scaled.jpg\" alt=\"dried coffee fruit pulp \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3173-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cascara, the dried skin and pulp of discarded coffee cherries, is used to brew an increasingly popular beverage in Peru. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Papachay also serves cascara, a tea-like beverage made from boiling the skin and pulp of dried coffee fruit husks to make a drink that has recently become more popular in Peru.\u003c/p>\n\u003cp>“I don’t see many people having that in the Bay Area, or even in Peru, really,” she continues. “It’s new to Peruvians. It’s a mix of fruit flavor with a green tea texture on your tongue.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932089,arts_13930727,arts_13928571","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>The reason you may have never heard of Peruvian cascara, or any other Peruvian coffee products for that matter, is due to the country’s internal political turmoil dating back to the 1980s, when \u003ca href=\"https://webarchive.archive.unhcr.org/20230521173955/https://www.refworld.org/docid/3f51fd694.html\">insurgent groups like Sendero Luminoso (the Shining Path) occupied isolated territories in Peru\u003c/a> that otherwise could have been used to cultivate coffee. Byproducts of the coffee industry such as cascara were therefore less available for decades. Instead, tea became popularized as the nation’s drink of choice, leading to emoliente’s rise.\u003c/p>\n\u003cp>When I first encountered Papachay at the Mountain View Farmers’ Market, a long line of coffee drinkers waited for their lattes and cold brew. Naturally, I ordered emoliente, something I’d never heard of until then. Though the drink is typically served hot, I asked to enjoy it with ice — something the owners were happy to do. After a few sips and light conversation with the friendly Latin Americans, they mentioned having a shop a few miles north.\u003c/p>\n\u003cfigure id=\"attachment_13960417\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-scaled.jpg\" alt=\"an imported coffee bag of Peruvian coffee beans\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_3155-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Papachay imports their coffee beans directly from Villa Rica, Peru. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some days later, I made the drive over to their home base in San Carlos. That’s where I ordered cascara. It isn’t the kind of sugary morning drink you might find at Starbucks or Dunkin’ Donuts. Instead, the old-world beverage — which predates coffee itself — is a tangy mix of sweet and sour notes, most reminiscent of tamarind. Like emoliente, it’s consumed in Peru’s high-altitude areas and beloved for its health properties and organic freshness.\u003c/p>\n\u003cp>Although it provides a jolt of caffeine, it’s not meant to zap you awake with a quick rush of energy. Rather, Peruvian culture — and its teas — are meant for the long haul, for those steady uphill climbs (think Machu Picchu). Both cascara and emoliente share a smooth drinkability that doesn’t feel like it should be solely limited to a morning commute. In fact, most Peruvians prefer to drink cascara and emoliente in the evenings.\u003c/p>\n\u003cp>Perhaps I’ll start to do the same.\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=\"https://www.instagram.com/papachayperuviancoffee/\">\u003ci>Papachay Peruvian Coffee\u003c/i>\u003c/a>\u003ci> (1431 Old County Rd., San Carlos) is open Mon. through Fri. from 7 a.m. to 2 p.m. Every Sunday, they can be found at the \u003ca href=\"https://www.cafarmersmkts.com/mountain-view-farmers-market\">Mountain View Farmers’ Market\u003c/a> (600 W. Evelyn Ave., Mountain View) from 9 a.m. to 1 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960360/peruvian-tea-coffee-papachay-emoliente-san-carlos-mountain-view","authors":["11748"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_20950","arts_22099","arts_10278","arts_14798","arts_14801","arts_5747","arts_2286","arts_3001"],"featImg":"arts_13960415","label":"source_arts_13960360"},"arts_13955802":{"type":"posts","id":"arts_13955802","meta":{"index":"posts_1716263798","site":"arts","id":"13955802","score":null,"sort":[1713390752000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1713390752,"format":"standard","title":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","headTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics) | KQED","content":"\u003cp>[dropcap]W[/dropcap]hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13934248']\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479']\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2211,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":28},"modified":1713412777,"excerpt":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","headData":{"twImgId":"","twTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","socialTitle":"Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED","ogTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","ogImgId":"","twDescription":"","description":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","title":"Bay Area Rappers and Food Lyrics | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","datePublished":"2024-04-17T14:52:32-07:00","dateModified":"2024-04-17T20:59:37-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","status":"publish","sourceUrl":"https://www.kqed.org/food","excludeFromSiteSearch":"Include","sticky":false,"source":"Food","articleAge":"0","path":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\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_13907726,arts_13934248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\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>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\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_13938479","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\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>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","authors":["11748"],"categories":["arts_1","arts_12276","arts_69"],"tags":["arts_21883","arts_5397","arts_1601","arts_10278","arts_1297","arts_3771","arts_831","arts_21738","arts_1558","arts_9337","arts_1143","arts_1803","arts_1146","arts_19942","arts_19347","arts_3478","arts_3800"],"featImg":"arts_13956152","label":"source_arts_13955802"},"arts_13952260":{"type":"posts","id":"arts_13952260","meta":{"index":"posts_1716263798","site":"arts","id":"13952260","score":null,"sort":[1707929631000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1707929631,"format":"aside","title":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz","headTitle":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED","content":"\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":3685,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":46},"modified":1708071864,"excerpt":"The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ","title":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz","datePublished":"2024-02-14T08:53:51-08:00","dateModified":"2024-02-16T00:24:24-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"turntablism-invisibl-skratch-piklz-legacy-impact","status":"publish","sourceUrl":"https://www.kqed.org/bayareahiphop","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"source":"That's My Word","articleAge":"0","path":"/arts/13952260/turntablism-invisibl-skratch-piklz-legacy-impact","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\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’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952260/turntablism-invisibl-skratch-piklz-legacy-impact","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_2854","arts_21712","arts_2852","arts_17218","arts_21940","arts_1146","arts_19347","arts_21711"],"featImg":"arts_13952262","label":"source_arts_13952260"},"arts_13952208":{"type":"posts","id":"arts_13952208","meta":{"index":"posts_1716263798","site":"arts","id":"13952208","score":null,"sort":[1707929580000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1707929580,"format":"standard","title":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map","headTitle":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map | KQED","content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>[pullquote size='large' align='center' citation='DJ Apollo']I got the bass kick and he grabbed the snare and we just started making a beat like, boom, cha, boom boom boom cha, boom boom, you know? And then we’re just like, ‘Oh, snap, what did we just do?” [/pullquote] \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\u003c/p>\n\u003cp>[aside postID='arts_13937489']Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":8314,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":121},"modified":1708071724,"excerpt":"A comprehensive history of the pioneering DJ crew, from Daly City garage parties to world domination.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"A comprehensive history of the pioneering DJ crew, from Daly City garage parties to world domination.","title":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map","datePublished":"2024-02-14T08:53:00-08:00","dateModified":"2024-02-16T00:22:04-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\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>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"I got the bass kick and he grabbed the snare and we just started making a beat like, boom, cha, boom boom boom cha, boom boom, you know? And then we’re just like, ‘Oh, snap, what did we just do?” ","name":"pullquote","attributes":{"named":{"size":"large","align":"center","citation":"DJ Apollo","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\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>Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_2854","arts_21712","arts_2852","arts_10278","arts_831","arts_17218","arts_21940","arts_1146","arts_19347","arts_21711"],"featImg":"arts_13952226","label":"arts"},"arts_13955066":{"type":"posts","id":"arts_13955066","meta":{"index":"posts_1716263798","site":"arts","id":"13955066","score":null,"sort":[1715978902000]},"guestAuthors":[],"slug":"del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","title":"The San Francisco Couple Whose Lifelong Love Changed America","publishDate":1715978902,"format":"standard","headTitle":"The San Francisco Couple Whose Lifelong Love Changed America | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]W[/dropcap]hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>[aside postid='arts_13889944']When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>[aside postid='arts_13870056']Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>[aside postid='pop_102855']It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\n","blocks":[],"excerpt":"Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.","status":"publish","parent":0,"modified":1718051774,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1623},"headData":{"title":"Honoring Lesbian Icons Del Martin and Phyllis Lyon | KQED","description":"Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.","ogTitle":"The San Francisco Couple Whose Lifelong Love Changed America","ogDescription":"","ogImgId":"","twTitle":"The San Francisco Couple Whose Lifelong Love Changed America","twDescription":"","twImgId":"","socialTitle":"Honoring Lesbian Icons Del Martin and Phyllis Lyon%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The San Francisco Couple Whose Lifelong Love Changed America","datePublished":"2024-05-17T13:48:22-07:00","dateModified":"2024-06-10T13:36:14-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889944","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\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>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13870056","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\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>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_10278","arts_3226","arts_22180","arts_8177","arts_21841","arts_8263"],"featImg":"arts_13955067","label":"arts_8978"},"arts_13950520":{"type":"posts","id":"arts_13950520","meta":{"index":"posts_1716263798","site":"arts","id":"13950520","score":null,"sort":[1707948014000]},"parent":0,"labelTerm":{"site":"arts","term":8978},"blocks":[],"publishDate":1707948014,"format":"standard","title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","headTitle":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","content":"\u003cp>[dropcap]I[/dropcap]n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1542,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1710265590,"excerpt":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","datePublished":"2024-02-14T14:00:14-08:00","dateModified":"2024-03-12T10:46:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"ruth-beckford-dance-black-panthers-free-breakfast-program","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/6767ea25-cddc-42bd-baac-b12c0136bde8/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\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>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548,pop_102326,arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_966","arts_7862","arts_11615"],"tags":["arts_6775","arts_1346","arts_10278","arts_7408","arts_1143","arts_21841"],"featImg":"arts_13951421","label":"arts_8978"},"arts_13937270":{"type":"posts","id":"arts_13937270","meta":{"index":"posts_1716263798","site":"arts","id":"13937270","score":null,"sort":[1699894805000]},"parent":0,"labelTerm":{"site":"arts","term":8978},"blocks":[],"publishDate":1699894805,"format":"standard","title":"The Pregnant Teen Who Captained a Clipper Ship in 1856","headTitle":"The Pregnant Teen Who Captained a Clipper Ship in 1856 | KQED","content":"\u003cp>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>[aside postid='arts_13932525']The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"(max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>[aside postid='arts_13892514']The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>[aside postid='arts_13908327']Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1237,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1705092195,"excerpt":"Mary Ann Patten was aboard Neptune's Car when her husband, the captain, fell ill. She navigated the vessel to safety.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Mary Ann Patten was aboard Neptune's Car when her husband, the captain, fell ill. She navigated the vessel to safety.","title":"The Pregnant Teen Who Captained a Clipper Ship in 1856 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Pregnant Teen Who Captained a Clipper Ship in 1856","datePublished":"2023-11-13T09:00:05-08:00","dateModified":"2024-01-12T12:43:15-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-pregnant-teen-who-captained-a-clipper-ship-in-1856","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/07cbfb3d-2008-4e9f-b066-b0bc01444a1f/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932525","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"(max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\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>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892514","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908327","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_10278","arts_21841"],"featImg":"arts_13937666","label":"arts_8978"},"arts_13961014":{"type":"posts","id":"arts_13961014","meta":{"index":"posts_1716263798","site":"arts","id":"13961014","score":null,"sort":[1720800022000]},"guestAuthors":[],"slug":"tall-tees-sun-drenched-summer-funk","title":"Tall Tee’s Sun-Drenched Summer Funk","publishDate":1720800022,"format":"standard","headTitle":"Tall Tee’s Sun-Drenched Summer Funk | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Years before they released an album, the Bay Area funk duo \u003ca href=\"https://www.instagram.com/tallteesound\">Tall Tee\u003c/a> began building their fan base off the strength of friendship. Not only does their laidback camaraderie translate easily on stage, but the two members, \u003ca href=\"https://www.instagram.com/joogmac/\">Joog Mac\u003c/a> and \u003ca href=\"https://www.instagram.com/flexone/\">Flex One\u003c/a>, keep their hands in countless creative communities and hustles. For Joog, it’s his genre-spanning DJ collective \u003ca href=\"https://www.instagram.com/joogmac/\">Bussdown\u003c/a>, comfort food pop-up \u003ca href=\"https://www.instagram.com/that_smax/\">SMAX\u003c/a>, and work in the \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wine industry\u003c/a>. For Flex, it’s videography, photography and even muay Thai.\u003c/p>\n\u003cp>Folks from all of these scenes show up when Tall Tee rocks a show. And whether they’re collaborating or pursuing solo ventures, Flex and Joog support each other completely. But that wasn’t necessarily the case when the two first met as San Francisco State University students over a decade ago, when they opened for underground hip-hop legends Zion I as two separate rap acts.\u003c/p>\n\u003cp>https://youtu.be/iW_1yQsyTq8?si=e0SGpnEI2qu3h3N4\u003c/p>\n\u003cp>“I saw what I thought was going to be my rival,” jokingly admits Flex, who was born and raised in San Francisco. “[But he] actually had similar interests, and we were in the same [broadcasting] program.”\u003c/p>\n\u003cp>The two eventually began working on music together, and after years of growing their hype through shows at venues like Oakland hotspot Crybaby, Tall Tee has officially arrived with their debut album \u003ci>Talk to Me\u003c/i>. Released in June, it’s full of feel-good, two-stepping boogie tracks prime for summer pool parties and barbecues. Over fat bass and wiggly synths with a booty-shaking groove, Flex and Joog tag-team singing and rapping, with dynamic flows and unpretentious lyrics that are as fun as they are cheeky. (It’s hard not to sing along, grinning, to lead single “So Fly,” where Joog rhymes “stick-ay ick-ay” with “freak-ay zeak-ay.”)\u003c/p>\n\u003cfigure id=\"attachment_13959342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim (left) and Jon “Joog” Macapinlac sit at their studio in Oakland on June 5, 2024, from the funk band Tall Tee. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tall Tee taps into a deep Bay Area legacy of funk that began in the ’70s with Sly and the Family Stone, who hailed from Joog’s hometown of Vallejo. During the same era in San Francisco, Flex’s uncles formed the barrier-breaking Filipino-led funk, rock and soul band \u003ca href=\"https://www.kqed.org/arts/13926503/dakila-guerssen-records-asian-american-filipino-rock-history-san-francisco\">Dakila\u003c/a>, one of the first U.S. bands to sing in Tagalog.\u003c/p>\n\u003cp>It’s not lost on Tall Tee that funk also forms the backbone of the West Coast hip-hop they grew up on. “I was a student of \u003ca href=\"https://www.daveyd.com/whoisdaveyd.html\">Davey D\u003c/a>’s at SF State, and he really made you aware that in the East [Coast] they had DJ crews, but here everyone had a funk band in their garage,” says Flex, referencing the renowned local radio host and hip-hop scholar. “So I really try to pay homage and bring that same energy.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The boogie style that makes up Tall Tee’s sound emerged in the early ’80s, when funk musicians embraced the sleek, digitized sounds of emerging synthesizer technologies, and blended funk with disco. As influences, Flex and Joog cite \u003ca href=\"https://youtu.be/zSOUNeiTkiE?si=bqqSRPb5WfG3-2FC\">Kashif\u003c/a>, a hitmaker who penned Evelyn Champagne King’s “\u003ca href=\"https://youtu.be/p9f_4F-GZgY?si=NpHjjRS94wkH2AZ8\">I’m in Love\u003c/a>”; R&B great \u003ca href=\"https://youtu.be/jtMHsNhQBvI?si=xhIe3BlAzNkjWSa2\">Patrice Rushen\u003c/a>; and Cameo, the flamboyant, leather-clad band of “\u003ca href=\"https://youtu.be/sn8KYD1Vco0?si=bws-0UHGEr6N_fpg\">Candy\u003c/a>” fame. [aside postid='arts_13960094,arts_13926503,arts_13923978']\u003c/p>\n\u003cp>Once deemed cheesy and uncool (namely because of the \u003ca href=\"https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music\">racist and homophobic backlash\u003c/a> against disco), boogie experienced a revival over the past decade thanks to crate-digging DJs who recontextualized the genre and showed the world that it actually slaps. (And it’s not just for record collectors \u003cspan style=\"font-weight: 400\">—\u003c/span> you can now turn on your radio and hear \u003ca href=\"https://slate.com/culture/2024/06/sabrina-carpenter-espresso-song-summer-boogie-post-disco.html\">a boogie bassline\u003c/a> in Sabrina Carpenter’s massive hit “Espresso.”)\u003c/p>\n\u003cp>Locally, the chief architects of its resurgence are the crew behind the\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\"> long-running party Sweater Funk\u003c/a>. After SF State, Joog and Flex became Sweater Funk regulars, and the all-vinyl dive bar dance party led Joog and Flex to \u003ca href=\"https://www.instagram.com/elive_beats/\">E. Live\u003c/a>, the producer of \u003ci>Talk to Me\u003c/i>. Their collaboration began in 2017, when Joog rapped over an instrumental E. Live posted online; after hearing his verse, E. Live invited Joog to one of his shows.\u003c/p>\n\u003cp>At the show, “when I met him, he was already playing. And then, like, in the middle of his set, he just handed me the mic and we did the song I recorded over,” Joog recalls. “My homies were actually smoking outside, and they were like, ‘Oh shit, is that Joog inside on the mic?’”\u003c/p>\n\u003cfigure id=\"attachment_13959345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim and Jon “Joog” Macapinlac work with Deshawn Guilloux and Jarin Tindall, aka OG Jarin, at OG Jarin’s studio in Oakland on June 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impromptu collab paved the way for the 10 groove-laden, cruise-with-the-windows-down tracks that make up \u003ci>Talk to Me\u003c/i>. Up next, Tall Tee will perform at 7th West on Aug. 3 for the party DAMoakland, and they’ll join E. Live on stage at The Independent on Aug. 16, opening for fellow funk revivalists Planet Booty. The duo is also self-funding an independent vinyl release of \u003ci>Talk to Me\u003c/i>, and working on a release party where they’ll perform with a full band, followed by a fall mini-tour in Japan. [ad fullwidth]\u003c/p>\n\u003cp>“We’ve garnered a lot of support through friends and through doing shows and performing, just through face to face and word of mouth for a long time,” says Joog. “This album was our first effort to make it very official.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tall Tee performs on \u003ca href=\"https://www.eventbrite.com/e/damoakland-7th-west-tickets-919796585347\">Saturday, Aug. 3, as part of DAMoakland at 7th West in Oakland\u003c/a>; and with E. Live on \u003ca href=\"https://apeconcerts.com/events/planet-booty-240816/\">Friday, Aug. 16, at The Independent in San Francisco\u003c/a>. Follow \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee on Instagram\u003c/a> for show announcements and updates. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"After years of building up hype through word of mouth, the duo arrives with their debut album, 'Talk to Me.'","status":"publish","parent":0,"modified":1720736930,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1018},"headData":{"title":"Tall Tee’s Sun-Drenched Summer Funk | KQED","description":"After years of building up hype through word of mouth, the duo arrives with their debut album, 'Talk to Me.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tall Tee’s Sun-Drenched Summer Funk","datePublished":"2024-07-12T09:00:22-07:00","dateModified":"2024-07-11T15:28:50-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961014/tall-tees-sun-drenched-summer-funk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Years before they released an album, the Bay Area funk duo \u003ca href=\"https://www.instagram.com/tallteesound\">Tall Tee\u003c/a> began building their fan base off the strength of friendship. Not only does their laidback camaraderie translate easily on stage, but the two members, \u003ca href=\"https://www.instagram.com/joogmac/\">Joog Mac\u003c/a> and \u003ca href=\"https://www.instagram.com/flexone/\">Flex One\u003c/a>, keep their hands in countless creative communities and hustles. For Joog, it’s his genre-spanning DJ collective \u003ca href=\"https://www.instagram.com/joogmac/\">Bussdown\u003c/a>, comfort food pop-up \u003ca href=\"https://www.instagram.com/that_smax/\">SMAX\u003c/a>, and work in the \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wine industry\u003c/a>. For Flex, it’s videography, photography and even muay Thai.\u003c/p>\n\u003cp>Folks from all of these scenes show up when Tall Tee rocks a show. And whether they’re collaborating or pursuing solo ventures, Flex and Joog support each other completely. But that wasn’t necessarily the case when the two first met as San Francisco State University students over a decade ago, when they opened for underground hip-hop legends Zion I as two separate rap acts.\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/iW_1yQsyTq8'\n title='//www.youtube.com/embed/iW_1yQsyTq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I saw what I thought was going to be my rival,” jokingly admits Flex, who was born and raised in San Francisco. “[But he] actually had similar interests, and we were in the same [broadcasting] program.”\u003c/p>\n\u003cp>The two eventually began working on music together, and after years of growing their hype through shows at venues like Oakland hotspot Crybaby, Tall Tee has officially arrived with their debut album \u003ci>Talk to Me\u003c/i>. Released in June, it’s full of feel-good, two-stepping boogie tracks prime for summer pool parties and barbecues. Over fat bass and wiggly synths with a booty-shaking groove, Flex and Joog tag-team singing and rapping, with dynamic flows and unpretentious lyrics that are as fun as they are cheeky. (It’s hard not to sing along, grinning, to lead single “So Fly,” where Joog rhymes “stick-ay ick-ay” with “freak-ay zeak-ay.”)\u003c/p>\n\u003cfigure id=\"attachment_13959342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim (left) and Jon “Joog” Macapinlac sit at their studio in Oakland on June 5, 2024, from the funk band Tall Tee. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tall Tee taps into a deep Bay Area legacy of funk that began in the ’70s with Sly and the Family Stone, who hailed from Joog’s hometown of Vallejo. During the same era in San Francisco, Flex’s uncles formed the barrier-breaking Filipino-led funk, rock and soul band \u003ca href=\"https://www.kqed.org/arts/13926503/dakila-guerssen-records-asian-american-filipino-rock-history-san-francisco\">Dakila\u003c/a>, one of the first U.S. bands to sing in Tagalog.\u003c/p>\n\u003cp>It’s not lost on Tall Tee that funk also forms the backbone of the West Coast hip-hop they grew up on. “I was a student of \u003ca href=\"https://www.daveyd.com/whoisdaveyd.html\">Davey D\u003c/a>’s at SF State, and he really made you aware that in the East [Coast] they had DJ crews, but here everyone had a funk band in their garage,” says Flex, referencing the renowned local radio host and hip-hop scholar. “So I really try to pay homage and bring that same energy.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The boogie style that makes up Tall Tee’s sound emerged in the early ’80s, when funk musicians embraced the sleek, digitized sounds of emerging synthesizer technologies, and blended funk with disco. As influences, Flex and Joog cite \u003ca href=\"https://youtu.be/zSOUNeiTkiE?si=bqqSRPb5WfG3-2FC\">Kashif\u003c/a>, a hitmaker who penned Evelyn Champagne King’s “\u003ca href=\"https://youtu.be/p9f_4F-GZgY?si=NpHjjRS94wkH2AZ8\">I’m in Love\u003c/a>”; R&B great \u003ca href=\"https://youtu.be/jtMHsNhQBvI?si=xhIe3BlAzNkjWSa2\">Patrice Rushen\u003c/a>; and Cameo, the flamboyant, leather-clad band of “\u003ca href=\"https://youtu.be/sn8KYD1Vco0?si=bws-0UHGEr6N_fpg\">Candy\u003c/a>” fame. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960094,arts_13926503,arts_13923978","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once deemed cheesy and uncool (namely because of the \u003ca href=\"https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music\">racist and homophobic backlash\u003c/a> against disco), boogie experienced a revival over the past decade thanks to crate-digging DJs who recontextualized the genre and showed the world that it actually slaps. (And it’s not just for record collectors \u003cspan style=\"font-weight: 400\">—\u003c/span> you can now turn on your radio and hear \u003ca href=\"https://slate.com/culture/2024/06/sabrina-carpenter-espresso-song-summer-boogie-post-disco.html\">a boogie bassline\u003c/a> in Sabrina Carpenter’s massive hit “Espresso.”)\u003c/p>\n\u003cp>Locally, the chief architects of its resurgence are the crew behind the\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\"> long-running party Sweater Funk\u003c/a>. After SF State, Joog and Flex became Sweater Funk regulars, and the all-vinyl dive bar dance party led Joog and Flex to \u003ca href=\"https://www.instagram.com/elive_beats/\">E. Live\u003c/a>, the producer of \u003ci>Talk to Me\u003c/i>. Their collaboration began in 2017, when Joog rapped over an instrumental E. Live posted online; after hearing his verse, E. Live invited Joog to one of his shows.\u003c/p>\n\u003cp>At the show, “when I met him, he was already playing. And then, like, in the middle of his set, he just handed me the mic and we did the song I recorded over,” Joog recalls. “My homies were actually smoking outside, and they were like, ‘Oh shit, is that Joog inside on the mic?’”\u003c/p>\n\u003cfigure id=\"attachment_13959345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim and Jon “Joog” Macapinlac work with Deshawn Guilloux and Jarin Tindall, aka OG Jarin, at OG Jarin’s studio in Oakland on June 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impromptu collab paved the way for the 10 groove-laden, cruise-with-the-windows-down tracks that make up \u003ci>Talk to Me\u003c/i>. Up next, Tall Tee will perform at 7th West on Aug. 3 for the party DAMoakland, and they’ll join E. Live on stage at The Independent on Aug. 16, opening for fellow funk revivalists Planet Booty. The duo is also self-funding an independent vinyl release of \u003ci>Talk to Me\u003c/i>, and working on a release party where they’ll perform with a full band, followed by a fall mini-tour in Japan. \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>“We’ve garnered a lot of support through friends and through doing shows and performing, just through face to face and word of mouth for a long time,” says Joog. “This album was our first effort to make it very official.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tall Tee performs on \u003ca href=\"https://www.eventbrite.com/e/damoakland-7th-west-tickets-919796585347\">Saturday, Aug. 3, as part of DAMoakland at 7th West in Oakland\u003c/a>; and with E. Live on \u003ca href=\"https://apeconcerts.com/events/planet-booty-240816/\">Friday, Aug. 16, at The Independent in San Francisco\u003c/a>. Follow \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee on Instagram\u003c/a> for show announcements and updates. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961014/tall-tees-sun-drenched-summer-funk","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1923","arts_831","arts_1143"],"featImg":"arts_13959343","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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