Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)
Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope
A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel
Tierra Whack Brings Her Surreal Vision to SFMOMA
Scarface, One of Hip-Hop's Best Storytellers, Returns to the Bay Area
San Bruno’s Late-Night BBQ Spot Is a Temple to Hip-Hop and Smoky Brisket
Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland
2 Men Convicted of Killing Run-DMC’s Jam Master Jay, Nearly 22 Years After His Death
Berkeley Rapper LOE Gino's Got Birkenstocks — and Bars
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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","blocks":[],"excerpt":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","status":"publish","parent":0,"modified":1713412777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":2211},"headData":{"title":"Bay Area Rappers and Food Lyrics | KQED","description":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","ogTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","ogDescription":"","ogImgId":"","twTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","twDescription":"","twImgId":"","socialTitle":"Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","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_13955372":{"type":"posts","id":"arts_13955372","meta":{"index":"posts_1591205157","site":"arts","id":"13955372","score":null,"sort":[1712181908000]},"guestAuthors":[],"slug":"not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","title":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope","publishDate":1712181908,"format":"standard","headTitle":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A lot of artists rap about triumphing over struggles in the past tense, but \u003ca href=\"https://www.instagram.com/caseycopesodope/\">Casey Cope\u003c/a> isn’t afraid to share them in real time. If you’ve been to one of his recent shows, you might’ve heard him riff about his absurdly bad 2023 — he had his catalytic converter stolen twice (and his entire car once), went through a breakup and got fired from his job.\u003c/p>\n\u003cp>It already takes tremendous sacrifice to make it as an artist in the expensive Bay Area, and for a while there, it seemed like everything was working against Cope. But the ever-resourceful rapper, producer and engineer turned his unlucky streak into fuel for his next solo project (out in the fall) and many collaborations. His next release, \u003ci>Qamp III\u003c/i>, arrives on April 12. It’s an album he, his musical partner in crime \u003ca href=\"https://www.instagram.com/marquitoooo_/\">Marquito\u003c/a> and a crew of 20 artists created from scratch in a 72-hour span, in a Berkeley studio Cope and Marquito helped build with their bare hands.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0dIU3nAeiJ12tym7WIe8cj?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope is remarkably transparent about his grind. On mornings, he’ll post a picture of his hearty breakfast (eggs, turkey bacon, burnt toast) overlaid with a breakdown of his schedule, which can include teaching, catering and working at a sports radio station, depending on the day.\u003c/p>\n\u003cp>Similarly, in his lyrics, he’s straight up about the sacrifices he’s made to pursue not just his own musical career, but to foster a thriving community of independent artists. He owns it to the point that it’s become a flex: Audiences grin and nod along when he performs “\u003ca href=\"https://www.youtube.com/watch?v=XzGZdKwL2Ls\">Back Up!\u003c/a>,” his 2020 song with a punk-rock attitude that features the bar “Your girl likes broke n—s if she likes us.”\u003c/p>\n\u003cfigure id=\"attachment_13955076\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg\" alt=\"Two musical collaborators pose in front of a computer monitor in a DIY music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito (left to right) at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being earnest has become important in my life, so as an artist, I just feel that translates,” Cope says. “When I was younger, like earlier 20s, I would go further in that lane — just a younger, less mature version. Like, ‘Oh, hey, look at me. I don’t rap about money and bitches.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He rolls his eyes at his past self: “It’s like, ‘OK, come on, bro.’ But now it’s just like, I like being honest. And I think people appreciate that.”\u003c/p>\n\u003cp>At Cope’s live shows, he’s not afraid to bring that same earnestness to the stage. His demeanor between songs tends to be jovial and charismatic; he articulates angry lyrics with a near-yelling intensity, then suddenly pivots into soft-spoken reflection. The display of raw emotion leaves people enthralled and slightly off balance.\u003c/p>\n\u003cp>Cope doesn’t overthink it. “I usually read comics before I perform,” he says. “I will literally be reading up until one minute before I go on stage sometimes, and I just go up and I’m like, ‘All right, let’s do it.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/24Gjglko2NP3ra4hlIZXeC?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope entered hip-hop as somewhat of an outsider, but his eclectic influences have proven to be a strength. As a high school student in Hayward, he played guitar and listened to Green Day, Weezer and Sum 41. It was during this era that he connected with his classmate Marquito, who grew up playing mariachi music and now floats comfortably between jazz, hip-hop, R&B and even reggaeton. Today, the friends, who both rock long hair and beat-up sneakers, vibe on a shared genre-agnostic frequency.\u003c/p>\n\u003cp>“I feel like we just complement each other energetically inside and outside of music,” Marquito says. “We hang out, we talk shit, we laugh.”\u003c/p>\n\u003cfigure id=\"attachment_13955077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our interview at Studio Q, the DIY West Berkeley recording space spearheaded by their collaborator Big Soda, Cope and Marquito recount the \u003ci>Qamp III\u003c/i> sessions, which had configurations of rappers, singers, beatmakers and instrumentalists (including a tuba player) split up among the studio’s three rooms.\u003c/p>\n\u003cp>Free-flowing collabs led to unexpected output, including Stoni and Qing Qi rapping shit-talking bars over a skittering jazz instrumental, instead of the hyphy-adjacent slaps they typically go for. (That track will arrive on the \u003ci>Qamp III\u003c/i> deluxe album in May, along with a behind-the-scenes documentary.)\u003c/p>\n\u003cp>“[Bay Area rap] is a lot more diverse than people realize,” Cope reflects.\u003c/p>\n\u003cfigure id=\"attachment_13955387\" class=\"wp-caption aligncenter\" style=\"max-width: 1805px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg\" alt=\"\" width=\"1805\" height=\"1850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg 1805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1499x1536.jpg 1499w\" sizes=\"(max-width: 1805px) 100vw, 1805px\">\u003cfigcaption class=\"wp-caption-text\">Kchaya, Pandaraps, Casey Cope, Nüxia and Nick Tasker at the ‘Qamp III’ recording session. \u003ccite>(Jason Mageria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Marquito released the first \u003ci>Qamp\u003c/i> album in 2022, and for each iteration they’ve recruited a different set of artists who have since bonded and blossomed into a community. Other collaborators on \u003ci>Qamp III\u003c/i> include Marika Sage, a dynamic young vocalist equally comfortable in earthy, conscious rap and head-banging post-rock; jazz singer, trombonist and pianist Oddity; soulful guitarist, drummer and producer Ian Santillano; and over a dozen others.\u003c/p>\n\u003cp>Those wide-ranging styles will be in full effect at the \u003ci>Qamp III\u003c/i> release show on \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">April 13 at Berkeley venue Cornerstone\u003c/a>, which features performances from Cope, Marquito, Qing Qi, Marika Sage and singer Rittybo. Rittybo’s rich vocals shine on \u003ci>Qamp III\u003c/i>’s single, “You Already Know,” which has a g-funk bass line that brings to mind glossy Cutlasses and pool tables in old-school dive bars. [aside postid='arts_13954736']\u003c/p>\n\u003cp>Meanwhile, Cope keeps hustling. In addition to \u003ci>Qamp III\u003c/i>, he and Marquito have music lined up as a duo, Los Lunes, named after their weekly Monday studio session together. And Cope’s solo album \u003ci>Life’s Never That Bad\u003c/i> arrives in the fall. The idea at its core is his self-described “blind optimism” that keeps him going as an artist, no matter how many catalytic converters he has to replace.\u003c/p>\n\u003cp>“It’s got some heartfelt notes,” he says. “There’s some hard, deep shit, but it’s also like, nope. Let’s play some cool bossa nova. Let’s play a jazz beat with Afrobeat drums. Life’s never that bad.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>‘Qamp III’ comes out April 12 on all platforms. The full list of artists is: Anjali Asha, Casey Cope, CIN, ClayDough, Criibaby, Ian Santillano, Kchaya, Kiyomi, Marika Sage, Mungo Baby, Nick Tasker, Oddity, Pandaraps, Qing Qi, Rittybo, Sophia Bromberg, Stoni, SundaY, SuperGood4UThing, Surfer Dave, Tia Nomore, Tommy Holmes, Tope.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>On April 13, Casey Cope, Marquito, Qing Qi, Marika Sage and Rittybo perform at Cornerstone in Berkeley. \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Despite a streak of bad luck, he's become a catalyst for collaboration in an eclectic Bay Area hip-hop scene. ","status":"publish","parent":0,"modified":1712187996,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1155},"headData":{"title":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope | KQED","description":"Despite a streak of bad luck, he's become a catalyst for collaboration in an eclectic Bay Area hip-hop scene. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of artists rap about triumphing over struggles in the past tense, but \u003ca href=\"https://www.instagram.com/caseycopesodope/\">Casey Cope\u003c/a> isn’t afraid to share them in real time. If you’ve been to one of his recent shows, you might’ve heard him riff about his absurdly bad 2023 — he had his catalytic converter stolen twice (and his entire car once), went through a breakup and got fired from his job.\u003c/p>\n\u003cp>It already takes tremendous sacrifice to make it as an artist in the expensive Bay Area, and for a while there, it seemed like everything was working against Cope. But the ever-resourceful rapper, producer and engineer turned his unlucky streak into fuel for his next solo project (out in the fall) and many collaborations. His next release, \u003ci>Qamp III\u003c/i>, arrives on April 12. It’s an album he, his musical partner in crime \u003ca href=\"https://www.instagram.com/marquitoooo_/\">Marquito\u003c/a> and a crew of 20 artists created from scratch in a 72-hour span, in a Berkeley studio Cope and Marquito helped build with their bare hands.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0dIU3nAeiJ12tym7WIe8cj?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope is remarkably transparent about his grind. On mornings, he’ll post a picture of his hearty breakfast (eggs, turkey bacon, burnt toast) overlaid with a breakdown of his schedule, which can include teaching, catering and working at a sports radio station, depending on the day.\u003c/p>\n\u003cp>Similarly, in his lyrics, he’s straight up about the sacrifices he’s made to pursue not just his own musical career, but to foster a thriving community of independent artists. He owns it to the point that it’s become a flex: Audiences grin and nod along when he performs “\u003ca href=\"https://www.youtube.com/watch?v=XzGZdKwL2Ls\">Back Up!\u003c/a>,” his 2020 song with a punk-rock attitude that features the bar “Your girl likes broke n—s if she likes us.”\u003c/p>\n\u003cfigure id=\"attachment_13955076\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg\" alt=\"Two musical collaborators pose in front of a computer monitor in a DIY music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito (left to right) at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being earnest has become important in my life, so as an artist, I just feel that translates,” Cope says. “When I was younger, like earlier 20s, I would go further in that lane — just a younger, less mature version. Like, ‘Oh, hey, look at me. I don’t rap about money and bitches.’”\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>He rolls his eyes at his past self: “It’s like, ‘OK, come on, bro.’ But now it’s just like, I like being honest. And I think people appreciate that.”\u003c/p>\n\u003cp>At Cope’s live shows, he’s not afraid to bring that same earnestness to the stage. His demeanor between songs tends to be jovial and charismatic; he articulates angry lyrics with a near-yelling intensity, then suddenly pivots into soft-spoken reflection. The display of raw emotion leaves people enthralled and slightly off balance.\u003c/p>\n\u003cp>Cope doesn’t overthink it. “I usually read comics before I perform,” he says. “I will literally be reading up until one minute before I go on stage sometimes, and I just go up and I’m like, ‘All right, let’s do it.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/24Gjglko2NP3ra4hlIZXeC?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope entered hip-hop as somewhat of an outsider, but his eclectic influences have proven to be a strength. As a high school student in Hayward, he played guitar and listened to Green Day, Weezer and Sum 41. It was during this era that he connected with his classmate Marquito, who grew up playing mariachi music and now floats comfortably between jazz, hip-hop, R&B and even reggaeton. Today, the friends, who both rock long hair and beat-up sneakers, vibe on a shared genre-agnostic frequency.\u003c/p>\n\u003cp>“I feel like we just complement each other energetically inside and outside of music,” Marquito says. “We hang out, we talk shit, we laugh.”\u003c/p>\n\u003cfigure id=\"attachment_13955077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our interview at Studio Q, the DIY West Berkeley recording space spearheaded by their collaborator Big Soda, Cope and Marquito recount the \u003ci>Qamp III\u003c/i> sessions, which had configurations of rappers, singers, beatmakers and instrumentalists (including a tuba player) split up among the studio’s three rooms.\u003c/p>\n\u003cp>Free-flowing collabs led to unexpected output, including Stoni and Qing Qi rapping shit-talking bars over a skittering jazz instrumental, instead of the hyphy-adjacent slaps they typically go for. (That track will arrive on the \u003ci>Qamp III\u003c/i> deluxe album in May, along with a behind-the-scenes documentary.)\u003c/p>\n\u003cp>“[Bay Area rap] is a lot more diverse than people realize,” Cope reflects.\u003c/p>\n\u003cfigure id=\"attachment_13955387\" class=\"wp-caption aligncenter\" style=\"max-width: 1805px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg\" alt=\"\" width=\"1805\" height=\"1850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg 1805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1499x1536.jpg 1499w\" sizes=\"(max-width: 1805px) 100vw, 1805px\">\u003cfigcaption class=\"wp-caption-text\">Kchaya, Pandaraps, Casey Cope, Nüxia and Nick Tasker at the ‘Qamp III’ recording session. \u003ccite>(Jason Mageria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Marquito released the first \u003ci>Qamp\u003c/i> album in 2022, and for each iteration they’ve recruited a different set of artists who have since bonded and blossomed into a community. Other collaborators on \u003ci>Qamp III\u003c/i> include Marika Sage, a dynamic young vocalist equally comfortable in earthy, conscious rap and head-banging post-rock; jazz singer, trombonist and pianist Oddity; soulful guitarist, drummer and producer Ian Santillano; and over a dozen others.\u003c/p>\n\u003cp>Those wide-ranging styles will be in full effect at the \u003ci>Qamp III\u003c/i> release show on \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">April 13 at Berkeley venue Cornerstone\u003c/a>, which features performances from Cope, Marquito, Qing Qi, Marika Sage and singer Rittybo. Rittybo’s rich vocals shine on \u003ci>Qamp III\u003c/i>’s single, “You Already Know,” which has a g-funk bass line that brings to mind glossy Cutlasses and pool tables in old-school dive bars. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954736","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Cope keeps hustling. In addition to \u003ci>Qamp III\u003c/i>, he and Marquito have music lined up as a duo, Los Lunes, named after their weekly Monday studio session together. And Cope’s solo album \u003ci>Life’s Never That Bad\u003c/i> arrives in the fall. The idea at its core is his self-described “blind optimism” that keeps him going as an artist, no matter how many catalytic converters he has to replace.\u003c/p>\n\u003cp>“It’s got some heartfelt notes,” he says. “There’s some hard, deep shit, but it’s also like, nope. Let’s play some cool bossa nova. Let’s play a jazz beat with Afrobeat drums. Life’s never that bad.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>‘Qamp III’ comes out April 12 on all platforms. The full list of artists is: Anjali Asha, Casey Cope, CIN, ClayDough, Criibaby, Ian Santillano, Kchaya, Kiyomi, Marika Sage, Mungo Baby, Nick Tasker, Oddity, Pandaraps, Qing Qi, Rittybo, Sophia Bromberg, Stoni, SundaY, SuperGood4UThing, Surfer Dave, Tia Nomore, Tommy Holmes, Tope.\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>\u003cem>On April 13, Casey Cope, Marquito, Qing Qi, Marika Sage and Rittybo perform at Cornerstone in Berkeley. \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_10278","arts_831"],"featImg":"arts_13955382","label":"arts_140"},"arts_13955045":{"type":"posts","id":"arts_13955045","meta":{"index":"posts_1591205157","site":"arts","id":"13955045","score":null,"sort":[1711999083000]},"guestAuthors":[],"slug":"a-chal-cold-medina-the-chapel-san-francisco","title":"A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel","publishDate":1711999083,"format":"standard","headTitle":"A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">If you’re like me, you might’ve been sleeping on \u003c/span>\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">\u003cspan style=\"font-weight: 400\">A.CHAL\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — the trippy Peruvian-born wordsmith and producer whose bars switch from English to Spanish to Spanglish and back like a dirt bike churning over an uneven jungle path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The millennial’s expansive vibe pulls from ’80s synthpop and goth, with underlying hints of trap, corridos tumbados, rock en español and reggaeton. A.CHAL in many ways embodies today’s diverse Latinx musicscape — a broad category that has been propelled into the stratosphere by genre-bending artists like Bad Bunny, Karol G, Kali Uchis, Peso Pluma and so many others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A.CHAL’s new work could easily fit on a playlist of that caliber. And on Thurs., Apr. 4, he’ll be pulling up to the Bay to perform at \u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco’s Mission District as part of his nationwide tour.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his latest album release, \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_k6Q7AdJy8rXQy-6OOZt6hUmO9ugSrhUYQ\">\u003ci>\u003cspan style=\"font-weight: 400\">ESPÍRITU\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">A.CHAL — whose family immigrated to Queens, New York when he was only four years old — is entering his prime. After \u003c/span>\u003ca href=\"https://remezcla.com/features/music/interview-a-chal-explores-psychedelic-existentialism-on-espiritu/\">\u003cspan style=\"font-weight: 400\">recently spending two years in his native country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> exploring the mountainside of Trujillo, Peru, the blossoming artist is hitting his stride and \u003c/span>\u003ca href=\"https://www.rollingstone.com/music/music-features/a-chal-espiritu-new-album-interview-1234979042/\">\u003cspan style=\"font-weight: 400\">garnering national attention\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. At times, A.CHAL sounds like a young Latinx Weeknd. On other tracks, he’s reminiscent of a lazy-flowing Benito. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though he may be new to some West Coast listeners, A.CHAL has been a factor for years. He’s someone that \u003c/span>\u003ca href=\"https://www.instagram.com/thecoldmedina/\">\u003cspan style=\"font-weight: 400\">Cold Medina, a local Mexican and Nicaraguan rapper from Frisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, has had on his radar for some time. Cold Medina will be opening up for A.CHAL on his Bay Area stop.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A few years back when I was a teaching artist at an after-school program, one of my students showed me a song of his and told me I needed to work with him, so this is a little bit of a full circle moment for me in that regard,” Cold Medina says about the upcoming show.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955051\" class=\"wp-caption alignleft\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png\" alt=\"A Latinx man stands on an outdoor balcony with his sunglasses on while looking downard\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM-160x197.png 160w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Cold Medina has been involved in the Bay Area’s arts and education scene for years. He’s now opening for A.CHAL, whose music a former student first introduced him to. \u003ccite>(Courtesy Cold Medina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like A.CHAL, Cold Medina’s vibe is at once tropical, chill and clouded by weed smoke. On his 2023 EP, \u003c/span>\u003ca href=\"https://thecoldmedina.bandcamp.com/album/a-quest-called-medina\">\u003ci>\u003cspan style=\"font-weight: 400\">A Quest Called Medina \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">with Vallejo producer \u003c/span>\u003ca href=\"https://www.instagram.com/_sydequest/\">\u003cspan style=\"font-weight: 400\">Sydequest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he flaunts his conscious lyricism with an array of references to Mexican culture and Bay slang. Parallel to A.CHAL’s journey, Medina has spent his adult years traveling to his ancestral homeland, and it shows in the music, which often references — through either direct language or music video settings — an earnest connection to Latin America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot more space for Latinx artists to grow their platforms and get some well deserved attention,” Cold Medina says. “The industry still has a narrow view of what a Latinx artist is and can be, [and] with mainstream exposure it can be easy for artists to get pigeonholed. [But] the Latinx experience is very unique and diverse. You are going to get some indigenous perspective and sounds rooted in that experience.”\u003c/span>\u003c/p>\n\u003cp>That spiritual essence will be in full effect when the two bilingual artists synergize on Valencia Street later this week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">A.CHAL\u003c/a> and \u003ca href=\"https://www.instagram.com/thecoldmedina/\">Cold Medina\u003c/a> will be performing at The Chapel (777 Valencia St., SF) on Thurs. Apr. 4 at 7 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Peruvian New York rapper and his SF collaborator Cold Medina embody today's diverse Latinx musical landscape.","status":"publish","parent":0,"modified":1711999083,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":606},"headData":{"title":"A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel | KQED","description":"The Peruvian New York rapper and his SF collaborator Cold Medina embody today's diverse Latinx musical landscape.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955045/a-chal-cold-medina-the-chapel-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you’re like me, you might’ve been sleeping on \u003c/span>\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">\u003cspan style=\"font-weight: 400\">A.CHAL\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — the trippy Peruvian-born wordsmith and producer whose bars switch from English to Spanish to Spanglish and back like a dirt bike churning over an uneven jungle path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The millennial’s expansive vibe pulls from ’80s synthpop and goth, with underlying hints of trap, corridos tumbados, rock en español and reggaeton. A.CHAL in many ways embodies today’s diverse Latinx musicscape — a broad category that has been propelled into the stratosphere by genre-bending artists like Bad Bunny, Karol G, Kali Uchis, Peso Pluma and so many others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A.CHAL’s new work could easily fit on a playlist of that caliber. And on Thurs., Apr. 4, he’ll be pulling up to the Bay to perform at \u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco’s Mission District as part of his nationwide tour.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his latest album release, \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_k6Q7AdJy8rXQy-6OOZt6hUmO9ugSrhUYQ\">\u003ci>\u003cspan style=\"font-weight: 400\">ESPÍRITU\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">A.CHAL — whose family immigrated to Queens, New York when he was only four years old — is entering his prime. After \u003c/span>\u003ca href=\"https://remezcla.com/features/music/interview-a-chal-explores-psychedelic-existentialism-on-espiritu/\">\u003cspan style=\"font-weight: 400\">recently spending two years in his native country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> exploring the mountainside of Trujillo, Peru, the blossoming artist is hitting his stride and \u003c/span>\u003ca href=\"https://www.rollingstone.com/music/music-features/a-chal-espiritu-new-album-interview-1234979042/\">\u003cspan style=\"font-weight: 400\">garnering national attention\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. At times, A.CHAL sounds like a young Latinx Weeknd. On other tracks, he’s reminiscent of a lazy-flowing Benito. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though he may be new to some West Coast listeners, A.CHAL has been a factor for years. He’s someone that \u003c/span>\u003ca href=\"https://www.instagram.com/thecoldmedina/\">\u003cspan style=\"font-weight: 400\">Cold Medina, a local Mexican and Nicaraguan rapper from Frisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, has had on his radar for some time. Cold Medina will be opening up for A.CHAL on his Bay Area stop.\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\">“A few years back when I was a teaching artist at an after-school program, one of my students showed me a song of his and told me I needed to work with him, so this is a little bit of a full circle moment for me in that regard,” Cold Medina says about the upcoming show.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955051\" class=\"wp-caption alignleft\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png\" alt=\"A Latinx man stands on an outdoor balcony with his sunglasses on while looking downard\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM-160x197.png 160w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Cold Medina has been involved in the Bay Area’s arts and education scene for years. He’s now opening for A.CHAL, whose music a former student first introduced him to. \u003ccite>(Courtesy Cold Medina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like A.CHAL, Cold Medina’s vibe is at once tropical, chill and clouded by weed smoke. On his 2023 EP, \u003c/span>\u003ca href=\"https://thecoldmedina.bandcamp.com/album/a-quest-called-medina\">\u003ci>\u003cspan style=\"font-weight: 400\">A Quest Called Medina \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">with Vallejo producer \u003c/span>\u003ca href=\"https://www.instagram.com/_sydequest/\">\u003cspan style=\"font-weight: 400\">Sydequest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he flaunts his conscious lyricism with an array of references to Mexican culture and Bay slang. Parallel to A.CHAL’s journey, Medina has spent his adult years traveling to his ancestral homeland, and it shows in the music, which often references — through either direct language or music video settings — an earnest connection to Latin America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot more space for Latinx artists to grow their platforms and get some well deserved attention,” Cold Medina says. “The industry still has a narrow view of what a Latinx artist is and can be, [and] with mainstream exposure it can be easy for artists to get pigeonholed. [But] the Latinx experience is very unique and diverse. You are going to get some indigenous perspective and sounds rooted in that experience.”\u003c/span>\u003c/p>\n\u003cp>That spiritual essence will be in full effect when the two bilingual artists synergize on Valencia Street later this week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">A.CHAL\u003c/a> and \u003ca href=\"https://www.instagram.com/thecoldmedina/\">Cold Medina\u003c/a> will be performing at The Chapel (777 Valencia St., SF) on Thurs. Apr. 4 at 7 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955045/a-chal-cold-medina-the-chapel-san-francisco","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_4435","arts_831","arts_1720","arts_1257","arts_974","arts_1146"],"featImg":"arts_13955048","label":"arts_140"},"arts_13954914":{"type":"posts","id":"arts_13954914","meta":{"index":"posts_1591205157","site":"arts","id":"13954914","score":null,"sort":[1711653203000]},"guestAuthors":[],"slug":"tierra-whack-sfmoma-art-bash","title":"Tierra Whack Brings Her Surreal Vision to SFMOMA","publishDate":1711653203,"format":"standard","headTitle":"Tierra Whack Brings Her Surreal Vision to SFMOMA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If there’s anyone who should perform in an art museum, it’s \u003ca href=\"https://www.instagram.com/tierrawhack/?hl=en\">Tierra Whack\u003c/a>. The North Philly singer and rapper introduced fans to her multiverse with 2018’s \u003cem>Whack World\u003c/em>, where each 30-second song builds out a world of off-kilter characters that — like a Pixar movie for adults — embody a full spectrum of emotion. This month, her long-awaited debut album, \u003cem>World Wide Whack\u003c/em>, cemented her as one of this generation’s most fiercely original songwriters. Whack hasn’t yet announced an official tour, but Bay Area fans have a chance to see her early at SFMOMA’s Art Bash, where she’s performing an hour-long set on April 24.\u003c/p>\n\u003cp>A bit more intimate than your standard concert setting, \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Art Bash\u003c/a> is a fundraiser party for San Francisco’s contemporary art museum. And if you’re not a well-heeled art patron who can afford to donate thousands of dollars, the museum offers lower-tier ticket prices comparable to the cost of an arena concert. A $250 party ticket will get you in to see Whack’s entire set, and a $95 late-night party ticket will allow you to see the second half of her performance and then catch the rest of the entertainment.\u003c/p>\n\u003cp>Among art activations created specifically for the event, the offerings include a drag stage curated by storied LGBTQ+ club Oasis and DJ sets from some of the Bay’s best selectors: experimental online radio station Lower Grand Radio and genre-defying Latin music party Sazon Libre.\u003c/p>\n\u003cp>https://youtu.be/g3DfekebzW8?si=ZgSGU92WDTN7PeIv\u003c/p>\n\u003cp>On \u003cem>World Wide Whack\u003c/em>, Whack strips away the personas and lays bare her real, human struggles. Though her flows and song arrangements remain playful, she reveals the \u003ca href=\"https://www.npr.org/2024/03/23/1240368835/tierra-whack-world-wide-whack-interview\">mental health challenges that accompanied her rapid ascent\u003c/a>, and opens up about overcoming suicidal ideation and impostor syndrome. The archetype of the sad clown is ever-present. In the colorful, stylized music video for “27 CLUB,” off-puttingly happy cheerleaders dance around her as she takes off masks and sings about a deep depression. And in the visual for “TWO NIGHT,” she becomes an inflatable parade float crashing through a city while getting damaged and abused by townsfolk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a music industry that often flouts glamour, sex and success, \u003cem>World Wide Whack\u003c/em> feels refreshingly inventive and honest. It’ll be a treat to see Whack in an intimate setting that celebrates imagination.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>SFMOMA’s Art Bash takes place on April 24, 5 p.m.–1 a.m. Tierra Whack performs 9:30–10:30 p.m. \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Full program and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For confidential mental health support, contact the \u003ca href=\"https://988lifeline.org/\">988 Suicide & Crisis Lifeline\u003c/a> by dialing 9-8-8, or the \u003ca href=\"http://www.crisistextline.org/\">Crisis Text Line\u003c/a> by texting HOME to 741741.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The ‘World Wide Whack’ rapper will headline the museum’s Art Bash on April 24.","status":"publish","parent":0,"modified":1711653203,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":484},"headData":{"title":"Tierra Whack Brings Her Surreal Vision to SFMOMA | KQED","description":"The ‘World Wide Whack’ rapper will headline the museum’s Art Bash on April 24.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954914/tierra-whack-sfmoma-art-bash","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s anyone who should perform in an art museum, it’s \u003ca href=\"https://www.instagram.com/tierrawhack/?hl=en\">Tierra Whack\u003c/a>. The North Philly singer and rapper introduced fans to her multiverse with 2018’s \u003cem>Whack World\u003c/em>, where each 30-second song builds out a world of off-kilter characters that — like a Pixar movie for adults — embody a full spectrum of emotion. This month, her long-awaited debut album, \u003cem>World Wide Whack\u003c/em>, cemented her as one of this generation’s most fiercely original songwriters. Whack hasn’t yet announced an official tour, but Bay Area fans have a chance to see her early at SFMOMA’s Art Bash, where she’s performing an hour-long set on April 24.\u003c/p>\n\u003cp>A bit more intimate than your standard concert setting, \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Art Bash\u003c/a> is a fundraiser party for San Francisco’s contemporary art museum. And if you’re not a well-heeled art patron who can afford to donate thousands of dollars, the museum offers lower-tier ticket prices comparable to the cost of an arena concert. A $250 party ticket will get you in to see Whack’s entire set, and a $95 late-night party ticket will allow you to see the second half of her performance and then catch the rest of the entertainment.\u003c/p>\n\u003cp>Among art activations created specifically for the event, the offerings include a drag stage curated by storied LGBTQ+ club Oasis and DJ sets from some of the Bay’s best selectors: experimental online radio station Lower Grand Radio and genre-defying Latin music party Sazon Libre.\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/g3DfekebzW8'\n title='//www.youtube.com/embed/g3DfekebzW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On \u003cem>World Wide Whack\u003c/em>, Whack strips away the personas and lays bare her real, human struggles. Though her flows and song arrangements remain playful, she reveals the \u003ca href=\"https://www.npr.org/2024/03/23/1240368835/tierra-whack-world-wide-whack-interview\">mental health challenges that accompanied her rapid ascent\u003c/a>, and opens up about overcoming suicidal ideation and impostor syndrome. The archetype of the sad clown is ever-present. In the colorful, stylized music video for “27 CLUB,” off-puttingly happy cheerleaders dance around her as she takes off masks and sings about a deep depression. And in the visual for “TWO NIGHT,” she becomes an inflatable parade float crashing through a city while getting damaged and abused by townsfolk.\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>In a music industry that often flouts glamour, sex and success, \u003cem>World Wide Whack\u003c/em> feels refreshingly inventive and honest. It’ll be a treat to see Whack in an intimate setting that celebrates imagination.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>SFMOMA’s Art Bash takes place on April 24, 5 p.m.–1 a.m. Tierra Whack performs 9:30–10:30 p.m. \u003ca href=\"https://www.sfmoma.org/event/series/art-bash/\">Full program and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For confidential mental health support, contact the \u003ca href=\"https://988lifeline.org/\">988 Suicide & Crisis Lifeline\u003c/a> by dialing 9-8-8, or the \u003ca href=\"http://www.crisistextline.org/\">Crisis Text Line\u003c/a> by texting HOME to 741741.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954914/tierra-whack-sfmoma-art-bash","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_1381","arts_585"],"featImg":"arts_13863664","label":"arts_140"},"arts_13954331":{"type":"posts","id":"arts_13954331","meta":{"index":"posts_1591205157","site":"arts","id":"13954331","score":null,"sort":[1710872071000]},"guestAuthors":[],"slug":"scarface-houston-live-band-san-francisco","title":"Scarface, One of Hip-Hop's Best Storytellers, Returns to the Bay Area","publishDate":1710872071,"format":"standard","headTitle":"Scarface, One of Hip-Hop’s Best Storytellers, Returns to the Bay Area | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Public media loves “storytelling,” so when Houston rapper Scarface \u003ca href=\"https://www.youtube.com/watch?v=ajNYTJcF6rE\">was booked into NPR’s Tiny Desk\u003c/a> late last year, who could be surprised? Scarface, along with Nas and Slick Rick, is undeniably among hip-hop’s greatest and most vivid storytellers.\u003c/p>\n\u003cp>[aside postID='arts_13939056']Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ajNYTJcF6rE\u003c/p>\n\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words: don’t miss Scarface when he returns to the Bay Area with his live band on Saturday, March 23, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/531644\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Fresh off a Tiny Desk Concert, Houston rapper Scarface brings his live band to San Francisco.","status":"publish","parent":0,"modified":1711125828,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":341},"headData":{"title":"Scarface, One of Hip-Hop's Best Storytellers, Returns to the Bay Area | KQED","description":"Fresh off a Tiny Desk Concert, Houston rapper Scarface brings his live band to San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"one-of-hip-hops-best-storytellers-returns-to-the-bay-area","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954331/scarface-houston-live-band-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Public media loves “storytelling,” so when Houston rapper Scarface \u003ca href=\"https://www.youtube.com/watch?v=ajNYTJcF6rE\">was booked into NPR’s Tiny Desk\u003c/a> late last year, who could be surprised? Scarface, along with Nas and Slick Rick, is undeniably among hip-hop’s greatest and most vivid storytellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939056","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\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/ajNYTJcF6rE'\n title='//www.youtube.com/embed/ajNYTJcF6rE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\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\u003cp>In other words: don’t miss Scarface when he returns to the Bay Area with his live band on Saturday, March 23, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/531644\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954331/scarface-houston-live-band-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_831","arts_22029","arts_585","arts_4271","arts_4107"],"featImg":"arts_13954332","label":"arts_140"},"arts_13953702":{"type":"posts","id":"arts_13953702","meta":{"index":"posts_1591205157","site":"arts","id":"13953702","score":null,"sort":[1709854182000]},"guestAuthors":[],"slug":"hip-hop-bbq-san-bruno-late-night-food","title":"San Bruno’s Late-Night BBQ Spot Is a Temple to Hip-Hop and Smoky Brisket","publishDate":1709854182,"format":"aside","headTitle":"San Bruno’s Late-Night BBQ Spot Is a Temple to Hip-Hop and Smoky Brisket | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13953708\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK.jpg\" alt=\"A man devours a spread of barbecue: brisket, ribs, collard greens, potato salad.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hip Hop BBQ Shack offers everything you could want at 10 o’clock on a Friday night: brisket, links, NBA Jam and a steady stream of ’90s and 2000s rap classic. \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 artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>San Bruno’s hip-hop-inspired late-night barbecue joint doesn’t simply play rap music while you eat your ribs; the actual name of the restaurant is \u003ca href=\"https://www.instagram.com/p/CsMg0XGPaeu/\">Hip Hop BBQ Shack\u003c/a>. Nearly every inch of the place is crammed full of assorted knickknacks and memorabilia, including a corrugated “Wall of Fame” that’s lined end to end with old vinyl and framed photos of hip-hop luminaries, both local and mega-national: Tupac, Kendrick, Mac Dre, Keak Da Sneak and, for some reason, Justin Bieber.\u003c/p>\n\u003cp>Waiting for our brisket plate, we fiddle with an NBA Jam mini arcade machine — itself an object of mid-’90s nostalgia. Over the speakers, Kid Cudi is off-key rap-singing about \u003ca href=\"https://www.youtube.com/watch?v=VrDfSZ_6f4U\">lonely loners\u003c/a>.\u003c/p>\n\u003cp>It’s all a little on the nose. But the formula seems to work, mainly because the barbecue itself is so solid.\u003c/p>\n\u003cp>It turns out that Hip Hop BBQ Shack is a fairly recent rebrand of The Famous Rib Shack, a longstanding Peninsula destination for ’cue, with the old sign still lit up out front. For the last few years, Chef Mae, the one-woman force behind San Francisco’s popular (and now-shuttered) Hyde Away Blues BBQ, has set up shop, slinging a barbecue menu that’s slightly fancier and more newfangled than your typical old-time joint. The mac and cheese has truffle oil in it here; the sauces are boozed up with bourbon or whiskey.\u003c/p>\n\u003cfigure id=\"attachment_13953710\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2.jpg\" alt='Exterior of a barbecue restaurant, with a sign that says, \"Rib Shack\" lit up above.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The old “Rib Shack” sign is still lit up above the restaurant. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late on a Friday night, we cobbled together a plate of hot links and brisket, and found both to be legitimately tasty. The links were plump and fatty, bursting with juice, and had that good snap you look for in a sausage. The brisket was chopped into big chunks rather than sliced and seemed to have some of the burnt ends — that \u003ca href=\"https://www.eater.com/2014/7/8/6194903/the-burnt-ends-of-kansas-city-a-guided-tour\">crunchy, well-blackened Kansas City innovation\u003c/a> — mixed in so that you might get several different textures in a single bite: the crisp, peppery bark; the tender, pleasantly smoky meat; the little nubs of fat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Note that this is the style of barbecue that comes slathered with a lot of sweet sauce — two kinds, in this case: a red, bourbon-based barbecue sauce that was slightly spicy and another one that was gold and mustardy. (A 49ers theme, maybe?) You can, of course, ask for the sauce on the side. I just wished we’d been given some plain white bread to help sop it up.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13953224,arts_13951914,arts_13951382']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Meanwhile, the collard greens might have been the most flavorful version I’ve ever had — slow-simmered in ham juices until they were loaded with savoriness and umami.\u003c/p>\n\u003cp>This is the kind of restaurant that sells out when it sells out — sometimes as early as 8 p.m., we were told, especially if there’s a big game on. If that’s the case, does it even qualify as a late-night restaurant? All I know is we arrived at close to 11 o’clock on a Friday night, and apart from a few side dishes that had sold out, the kitchen was still turning out big plates of ’cue. Call ahead if you want to be sure.\u003c/p>\n\u003cp>The Shack is also the kind of place where at the end of the meal, after we eat our fill and bob our heads to a steady stream of ’90s and 2000s rap classics, Chef Mae encourages us to consider throwing our next hip-hop-themed birthday party here. “You just have to wear all Adidas,” she says.\u003c/p>\n\u003cp>I don’t know if I have \u003ci>that\u003c/i> on my 2024 bingo card. But if I’m hungry for barbecue on the Peninsula late at night, now I know exactly where to go.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/hiphopbbqshack/\">Hip Hop BBQ Shack\u003c/a> is open at 223 El Camino Real in San Bruno, Friday through Sunday from 6–11 p.m. (or until sold out), and Wednesday to Thursday 6–10 p.m. (or until sold out). \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Hip Hop BBQ Shack slings sauce-slathered brisket and some of the most flavorful collard greens around.","status":"publish","parent":0,"modified":1709854182,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":786},"headData":{"title":"San Bruno’s Late-Night BBQ Spot Is a Temple to Hip-Hop and Smoky Brisket | KQED","description":"Hip Hop BBQ Shack slings sauce-slathered brisket and some of the most flavorful collard greens around.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953702/hip-hop-bbq-san-bruno-late-night-food","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953708\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK.jpg\" alt=\"A man devours a spread of barbecue: brisket, ribs, collard greens, potato salad.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/HIPHOPRIBSHACK-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hip Hop BBQ Shack offers everything you could want at 10 o’clock on a Friday night: brisket, links, NBA Jam and a steady stream of ’90s and 2000s rap classic. \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 artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>San Bruno’s hip-hop-inspired late-night barbecue joint doesn’t simply play rap music while you eat your ribs; the actual name of the restaurant is \u003ca href=\"https://www.instagram.com/p/CsMg0XGPaeu/\">Hip Hop BBQ Shack\u003c/a>. Nearly every inch of the place is crammed full of assorted knickknacks and memorabilia, including a corrugated “Wall of Fame” that’s lined end to end with old vinyl and framed photos of hip-hop luminaries, both local and mega-national: Tupac, Kendrick, Mac Dre, Keak Da Sneak and, for some reason, Justin Bieber.\u003c/p>\n\u003cp>Waiting for our brisket plate, we fiddle with an NBA Jam mini arcade machine — itself an object of mid-’90s nostalgia. Over the speakers, Kid Cudi is off-key rap-singing about \u003ca href=\"https://www.youtube.com/watch?v=VrDfSZ_6f4U\">lonely loners\u003c/a>.\u003c/p>\n\u003cp>It’s all a little on the nose. But the formula seems to work, mainly because the barbecue itself is so solid.\u003c/p>\n\u003cp>It turns out that Hip Hop BBQ Shack is a fairly recent rebrand of The Famous Rib Shack, a longstanding Peninsula destination for ’cue, with the old sign still lit up out front. For the last few years, Chef Mae, the one-woman force behind San Francisco’s popular (and now-shuttered) Hyde Away Blues BBQ, has set up shop, slinging a barbecue menu that’s slightly fancier and more newfangled than your typical old-time joint. The mac and cheese has truffle oil in it here; the sauces are boozed up with bourbon or whiskey.\u003c/p>\n\u003cfigure id=\"attachment_13953710\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2.jpg\" alt='Exterior of a barbecue restaurant, with a sign that says, \"Rib Shack\" lit up above.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Hiphopribshack2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The old “Rib Shack” sign is still lit up above the restaurant. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late on a Friday night, we cobbled together a plate of hot links and brisket, and found both to be legitimately tasty. The links were plump and fatty, bursting with juice, and had that good snap you look for in a sausage. The brisket was chopped into big chunks rather than sliced and seemed to have some of the burnt ends — that \u003ca href=\"https://www.eater.com/2014/7/8/6194903/the-burnt-ends-of-kansas-city-a-guided-tour\">crunchy, well-blackened Kansas City innovation\u003c/a> — mixed in so that you might get several different textures in a single bite: the crisp, peppery bark; the tender, pleasantly smoky meat; the little nubs of fat.\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>Note that this is the style of barbecue that comes slathered with a lot of sweet sauce — two kinds, in this case: a red, bourbon-based barbecue sauce that was slightly spicy and another one that was gold and mustardy. (A 49ers theme, maybe?) You can, of course, ask for the sauce on the side. I just wished we’d been given some plain white bread to help sop it up.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953224,arts_13951914,arts_13951382","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Meanwhile, the collard greens might have been the most flavorful version I’ve ever had — slow-simmered in ham juices until they were loaded with savoriness and umami.\u003c/p>\n\u003cp>This is the kind of restaurant that sells out when it sells out — sometimes as early as 8 p.m., we were told, especially if there’s a big game on. If that’s the case, does it even qualify as a late-night restaurant? All I know is we arrived at close to 11 o’clock on a Friday night, and apart from a few side dishes that had sold out, the kitchen was still turning out big plates of ’cue. Call ahead if you want to be sure.\u003c/p>\n\u003cp>The Shack is also the kind of place where at the end of the meal, after we eat our fill and bob our heads to a steady stream of ’90s and 2000s rap classics, Chef Mae encourages us to consider throwing our next hip-hop-themed birthday party here. “You just have to wear all Adidas,” she says.\u003c/p>\n\u003cp>I don’t know if I have \u003ci>that\u003c/i> on my 2024 bingo card. But if I’m hungry for barbecue on the Peninsula late at night, now I know exactly where to go.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/hiphopbbqshack/\">Hip Hop BBQ Shack\u003c/a> is open at 223 El Camino Real in San Bruno, Friday through Sunday from 6–11 p.m. (or until sold out), and Wednesday to Thursday 6–10 p.m. (or until sold out). \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953702/hip-hop-bbq-san-bruno-late-night-food","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_13831","arts_10278","arts_1297","arts_831","arts_8805","arts_21929","arts_21928"],"featImg":"arts_13953706","label":"source_arts_13953702"},"arts_13953284":{"type":"posts","id":"arts_13953284","meta":{"index":"posts_1591205157","site":"arts","id":"13953284","score":null,"sort":[1709412130000]},"guestAuthors":[],"slug":"nicki-minaj-review-oakland-arena-pink-friday-2-tour","title":"Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland","publishDate":1709412130,"format":"aside","headTitle":"Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n","blocks":[],"excerpt":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.","status":"publish","parent":0,"modified":1710174100,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1253},"headData":{"title":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland | KQED","description":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Live Review: Nicki Minaj Reclaims Her Crown at Tour Kickoff in Oakland %%page%% %%sep%% KQED","socialDescription":"Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \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 have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \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>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour","authors":["185"],"categories":["arts_1","arts_69","arts_235","arts_75"],"tags":["arts_10342","arts_10278","arts_831","arts_21987","arts_1143","arts_21988","arts_974","arts_769"],"featImg":"arts_13953288","label":"arts"},"arts_13953112":{"type":"posts","id":"arts_13953112","meta":{"index":"posts_1591205157","site":"arts","id":"13953112","score":null,"sort":[1709075704000]},"guestAuthors":[],"slug":"jam-master-jay-murder-convictions-karl-jordan-ronald-washington","title":"2 Men Convicted of Killing Run-DMC’s Jam Master Jay, Nearly 22 Years After His Death","publishDate":1709075704,"format":"standard","headTitle":"2 Men Convicted of Killing Run-DMC’s Jam Master Jay, Nearly 22 Years After His Death | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Two men were convicted of murder Tuesday in the death of Run-DMC star Jam Master Jay, a brazen 2002 shooting in the rap legend’s studio.\u003c/p>\n\u003cp>An anonymous Brooklyn federal jury found Karl Jordan Jr. and Ronald Washington guilty of killing the pioneering DJ over what prosecutors characterized as revenge for a failed drug deal.\u003c/p>\n\u003cp>Jam Master Jay, born Jason Mizell, worked the turntables in Run-DMC as it helped hip-hop break into the pop music mainstream in the 1980s with such hits as “It’s Tricky” and a fresh take on Aerosmith’s “Walk This Way.”\u003c/p>\n\u003cp>[aside postid='arts_13827651']Like the slayings of rap icons Tupac Shakur and the Notorious B.I.G. in the late 1990s, the Oct. 30, 2002, shooting remained unsolved for years. Authorities were deluged with tips, rumors and theories but struggled to get witnesses to open up.\u003c/p>\n\u003cp>“It’s no mystery why it took years to indict and arrest the defendants,” Breon Peace, the top federal prosecutor in Brooklyn, told reporters after the verdict. “The witnesses in the recording studio knew the killers, and they were terrified that they would be retaliated against if they cooperated with law enforcement and identified the ruthless executioners of Mr. Mizell. But their strength and resolve in testifying at this trial were a triumph of right over wrong and courage over fear.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jordan, 40, was the famous DJ’s godson. Washington, 59, was an old friend who was bunking at the home of the DJ’s sister. Both men were arrested in 2020 and pleaded not guilty.\u003c/p>\n\u003cp>“Y’all just killed two innocent people,” Washington yelled at the jury following the guilty verdict.\u003c/p>\n\u003cp>Jordan’s supporters also erupted at the verdict, cursing the jury. “I love y’all,” Jordan said to the group who sat in the courtroom pews before they were escorted out by U.S. Marshalls after more yelling.\u003c/p>\n\u003cp>Lawyers for both men said they’ve made a formal request for the judge to set aside the jury’s guilty verdict and acquit them.\u003c/p>\n\u003cp>[aside postid='arts_13952208']“We’re optimistic,” one of Washington’s lawyers, Susan Kellman, told reporters. “My client did not do this. And the jury heard testimony about the person who did.”\u003c/p>\n\u003cp>The men’s names, or at least their nicknames, have been floated for decades in connection to the case. Authorities publicly named Washington as a suspect in 2007. He, meanwhile, told \u003cem>Playboy\u003c/em> magazine in 2003 he’d been outside the studio, heard the shots and saw “Little D” — one of Jordan’s monikers — racing out of the building.\u003c/p>\n\u003cp>Mizell had been part of Run-DMC’s anti-drug message, delivered through a public service announcement and such lyrics as “we are not thugs / we don’t use drugs.” But according to prosecutors and \u003ca href=\"https://apnews.com/article/jam-master-jay-run-dmc-murder-trial-e6d4ce2e42e7f542f072a1ae17feb7bb\">trial testimony\u003c/a>, he racked up debts after the group’s heyday and moonlighted as a cocaine middleman to cover his bills and habitual generosity to friends.\u003c/p>\n\u003cp>“He was a man who got involved in the drug game to take care of the people who depended on him,” Assistant U.S. Attorney Artie McConnell said in his summation.\u003c/p>\n\u003cp>Prosecution witnesses testified that in Mizell’s final months, he had a plan to acquire 10 kilograms of cocaine and sell it through Jordan, Washington and a Baltimore-based dealer. But the Baltimore connection refused to work with Washington, according to testimony.\u003c/p>\n\u003cp>According to prosecutors, Washington and Jordan went after Mizell for the sake of vengeance, greed and jealousy.\u003c/p>\n\u003cp>[aside postid='arts_13927349']Two eyewitnesses, former studio aide Uriel Rincon and former Mizell business manager Lydia High, testified that Washington blocked the door and ordered High to lie on the floor. She said he brandished a gun.\u003c/p>\n\u003cp>Rincon identified Jordan as the man who approached Mizell and exchanged a friendly greeting moments before shots rang out and one bullet wounded Rincon himself. Three other people, including a teenage singer who had just stopped by the studio to tout her demo tape, testified that they were in an adjoining room and heard but didn’t see what happened.\u003c/p>\n\u003cp>Other witnesses testified that Washington and Jordan made incriminating statements about the Mizell killing after it happened.\u003c/p>\n\u003cp>Neither Washington nor Jordan testified. Their lawyers questioned key prosecution witnesses’ credibility and their memories of the long-ago shooting, noting that some initially denied they could identify the attackers or had heard who they were.\u003c/p>\n\u003cp>“Virtually every witness changed their testimony 180 degrees,” Kellman told the judge during legal arguments.\u003c/p>\n\u003cp>The witnesses said they had been overwhelmed, loath to pass along secondhand information or scared for their lives.\u003c/p>\n\u003cp>Washington’s defense also tapped a retired psychology professor, who testified that people’s recollections of any event can become a blend of what they actually experienced and subsequently learned.\u003c/p>\n\u003cp>The trial shed limited light on a third defendant, Jay Bryant, who was charged last year after prosecutors said his DNA was found on a hat at the scene. They assert that he slipped into the studio building and let Washington and Jordan in through fire door in the back so they could avoid buzzing up.\u003c/p>\n\u003cp>Bryant has pleaded not guilty and is headed toward a separate trial.\u003c/p>\n\u003cp>[aside postid='pop_30466']Testimony suggested that he knew someone in common with his co-defendants, but there’s no indication that Bryant was close with Mizell, if indeed they ever met.\u003c/p>\n\u003cp>Bryant’s uncle testified that his nephew told him he shot Mizell after the DJ reached for a gun, a scenario no other witnesses described.\u003c/p>\n\u003cp>McConnell said Bryant was “involved, but he’s not the killer.” Prosecutors’ theory doesn’t even place Bryant in the studio, though that’s where authorities found the hat with DNA from him and other people — but not the other defendants, according to court filings.\u003c/p>\n\u003cp>Still, McConnell suggested that Jordan or Washington could accidentally have left the hat behind after Bryant came into contact with it. But lawyers for Washington and Jordan portrayed the garment as a key piece of evidence in their clients’ favor.\u003c/p>\n\u003cp>“Jay Bryant is literally reasonable doubt,” one of Jordan’s lawyers, Michael Hueston, told jurors.\u003c/p>\n\u003cp>While the case may complicate Mizell’s image, Syracuse University media professor J. Christopher Hamilton says it shouldn’t be blotted out.\u003c/p>\n\u003cp>If he was indeed involved in dealing drugs, “that doesn’t mean to say his achievements shouldn’t be lauded,” said Hamilton, a former entertainment lawyer and Brooklyn prosecutor who grew up partly in Mizell’s neighborhood. Hamilton argues that acceptance from local underworld figures was a necessity for successful rappers of the ’80s and ’90s.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You don’t get these individuals without them walking through the gauntlet of the street,” Hamilton said.\u003c/p>\n\n","blocks":[],"excerpt":"An anonymous Brooklyn federal jury found Karl Jordan Jr. and Ronald Washington guilty of killing the beloved DJ.","status":"publish","parent":0,"modified":1709076093,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1191},"headData":{"title":"Jam Master Jay’s Killers Convicted in Brooklyn | KQED","description":"An anonymous Brooklyn federal jury found Karl Jordan Jr. and Ronald Washington guilty of killing the beloved DJ.","ogTitle":"2 Men Convicted of Killing Run-DMC’s Jam Master Jay, Nearly 22 Years After His Death","ogDescription":"","ogImgId":"","twTitle":"2 Men Convicted of Killing Run-DMC’s Jam Master Jay, Nearly 22 Years After His Death","twDescription":"","twImgId":"","socialTitle":"Jam Master Jay’s Killers Convicted in Brooklyn %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Cedar Attanasio, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953112/jam-master-jay-murder-convictions-karl-jordan-ronald-washington","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two men were convicted of murder Tuesday in the death of Run-DMC star Jam Master Jay, a brazen 2002 shooting in the rap legend’s studio.\u003c/p>\n\u003cp>An anonymous Brooklyn federal jury found Karl Jordan Jr. and Ronald Washington guilty of killing the pioneering DJ over what prosecutors characterized as revenge for a failed drug deal.\u003c/p>\n\u003cp>Jam Master Jay, born Jason Mizell, worked the turntables in Run-DMC as it helped hip-hop break into the pop music mainstream in the 1980s with such hits as “It’s Tricky” and a fresh take on Aerosmith’s “Walk This Way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13827651","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like the slayings of rap icons Tupac Shakur and the Notorious B.I.G. in the late 1990s, the Oct. 30, 2002, shooting remained unsolved for years. Authorities were deluged with tips, rumors and theories but struggled to get witnesses to open up.\u003c/p>\n\u003cp>“It’s no mystery why it took years to indict and arrest the defendants,” Breon Peace, the top federal prosecutor in Brooklyn, told reporters after the verdict. “The witnesses in the recording studio knew the killers, and they were terrified that they would be retaliated against if they cooperated with law enforcement and identified the ruthless executioners of Mr. Mizell. But their strength and resolve in testifying at this trial were a triumph of right over wrong and courage over fear.”\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>Jordan, 40, was the famous DJ’s godson. Washington, 59, was an old friend who was bunking at the home of the DJ’s sister. Both men were arrested in 2020 and pleaded not guilty.\u003c/p>\n\u003cp>“Y’all just killed two innocent people,” Washington yelled at the jury following the guilty verdict.\u003c/p>\n\u003cp>Jordan’s supporters also erupted at the verdict, cursing the jury. “I love y’all,” Jordan said to the group who sat in the courtroom pews before they were escorted out by U.S. Marshalls after more yelling.\u003c/p>\n\u003cp>Lawyers for both men said they’ve made a formal request for the judge to set aside the jury’s guilty verdict and acquit them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952208","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We’re optimistic,” one of Washington’s lawyers, Susan Kellman, told reporters. “My client did not do this. And the jury heard testimony about the person who did.”\u003c/p>\n\u003cp>The men’s names, or at least their nicknames, have been floated for decades in connection to the case. Authorities publicly named Washington as a suspect in 2007. He, meanwhile, told \u003cem>Playboy\u003c/em> magazine in 2003 he’d been outside the studio, heard the shots and saw “Little D” — one of Jordan’s monikers — racing out of the building.\u003c/p>\n\u003cp>Mizell had been part of Run-DMC’s anti-drug message, delivered through a public service announcement and such lyrics as “we are not thugs / we don’t use drugs.” But according to prosecutors and \u003ca href=\"https://apnews.com/article/jam-master-jay-run-dmc-murder-trial-e6d4ce2e42e7f542f072a1ae17feb7bb\">trial testimony\u003c/a>, he racked up debts after the group’s heyday and moonlighted as a cocaine middleman to cover his bills and habitual generosity to friends.\u003c/p>\n\u003cp>“He was a man who got involved in the drug game to take care of the people who depended on him,” Assistant U.S. Attorney Artie McConnell said in his summation.\u003c/p>\n\u003cp>Prosecution witnesses testified that in Mizell’s final months, he had a plan to acquire 10 kilograms of cocaine and sell it through Jordan, Washington and a Baltimore-based dealer. But the Baltimore connection refused to work with Washington, according to testimony.\u003c/p>\n\u003cp>According to prosecutors, Washington and Jordan went after Mizell for the sake of vengeance, greed and jealousy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Two eyewitnesses, former studio aide Uriel Rincon and former Mizell business manager Lydia High, testified that Washington blocked the door and ordered High to lie on the floor. She said he brandished a gun.\u003c/p>\n\u003cp>Rincon identified Jordan as the man who approached Mizell and exchanged a friendly greeting moments before shots rang out and one bullet wounded Rincon himself. Three other people, including a teenage singer who had just stopped by the studio to tout her demo tape, testified that they were in an adjoining room and heard but didn’t see what happened.\u003c/p>\n\u003cp>Other witnesses testified that Washington and Jordan made incriminating statements about the Mizell killing after it happened.\u003c/p>\n\u003cp>Neither Washington nor Jordan testified. Their lawyers questioned key prosecution witnesses’ credibility and their memories of the long-ago shooting, noting that some initially denied they could identify the attackers or had heard who they were.\u003c/p>\n\u003cp>“Virtually every witness changed their testimony 180 degrees,” Kellman told the judge during legal arguments.\u003c/p>\n\u003cp>The witnesses said they had been overwhelmed, loath to pass along secondhand information or scared for their lives.\u003c/p>\n\u003cp>Washington’s defense also tapped a retired psychology professor, who testified that people’s recollections of any event can become a blend of what they actually experienced and subsequently learned.\u003c/p>\n\u003cp>The trial shed limited light on a third defendant, Jay Bryant, who was charged last year after prosecutors said his DNA was found on a hat at the scene. They assert that he slipped into the studio building and let Washington and Jordan in through fire door in the back so they could avoid buzzing up.\u003c/p>\n\u003cp>Bryant has pleaded not guilty and is headed toward a separate trial.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_30466","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Testimony suggested that he knew someone in common with his co-defendants, but there’s no indication that Bryant was close with Mizell, if indeed they ever met.\u003c/p>\n\u003cp>Bryant’s uncle testified that his nephew told him he shot Mizell after the DJ reached for a gun, a scenario no other witnesses described.\u003c/p>\n\u003cp>McConnell said Bryant was “involved, but he’s not the killer.” Prosecutors’ theory doesn’t even place Bryant in the studio, though that’s where authorities found the hat with DNA from him and other people — but not the other defendants, according to court filings.\u003c/p>\n\u003cp>Still, McConnell suggested that Jordan or Washington could accidentally have left the hat behind after Bryant came into contact with it. But lawyers for Washington and Jordan portrayed the garment as a key piece of evidence in their clients’ favor.\u003c/p>\n\u003cp>“Jay Bryant is literally reasonable doubt,” one of Jordan’s lawyers, Michael Hueston, told jurors.\u003c/p>\n\u003cp>While the case may complicate Mizell’s image, Syracuse University media professor J. Christopher Hamilton says it shouldn’t be blotted out.\u003c/p>\n\u003cp>If he was indeed involved in dealing drugs, “that doesn’t mean to say his achievements shouldn’t be lauded,” said Hamilton, a former entertainment lawyer and Brooklyn prosecutor who grew up partly in Mizell’s neighborhood. Hamilton argues that acceptance from local underworld figures was a necessity for successful rappers of the ’80s and ’90s.\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>“You don’t get these individuals without them walking through the gauntlet of the street,” Hamilton said.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953112/jam-master-jay-murder-convictions-karl-jordan-ronald-washington","authors":["byline_arts_13953112"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_21822","arts_831"],"featImg":"arts_13884929","label":"arts"},"arts_13953009":{"type":"posts","id":"arts_13953009","meta":{"index":"posts_1591205157","site":"arts","id":"13953009","score":null,"sort":[1708994696000]},"guestAuthors":[],"slug":"loe-gino-berkeley-birkenstocks-and-bars","title":"Berkeley Rapper LOE Gino's Got Birkenstocks — and Bars","publishDate":1708994696,"format":"standard","headTitle":"Berkeley Rapper LOE Gino’s Got Birkenstocks — and Bars | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A few things to know about Berkeley’s \u003ca href=\"https://www.instagram.com/loe.gino/\">LOE Gino\u003c/a>: He’s a rapper, delivery truck driver, and a self-proclaimed foodie. He avidly rocks Birkenstock sandals, \u003cem>with\u003c/em> socks, and has a clever way of putting personal pain into his art.\u003c/p>\n\u003cp>The first part of his stage name, LOE, stands for \u003ca href=\"https://www.berkeleyside.org/2021/07/22/berkeley-hip-hop-artist-loe-gino\">loyalty over everything\u003c/a>. The second part, Gino, comes from his late mother, Gina.\u003c/p>\n\u003cp>At 6’3″ with locs, shaved at the side, he stands out in a crowd — and he’s often in one. He’s rocked stages all over the region, from \u003ca href=\"https://www.instagram.com/p/CvxpteTyGdI/?img_index=1\">The Plant Queen\u003c/a> nursery shop in his hometown of Berkeley to \u003ca href=\"https://www.instagram.com/p/C3RNmJrR_Jd/\">LaRussell’s pergola in Vallejo\u003c/a>. Last fall, I saw him perform a full set at Lola’s Lounge in Sacramento — a good portion of it while holding his young son.\u003c/p>\n\u003cfigure id=\"attachment_13953018\" class=\"wp-caption aligncenter\" style=\"max-width: 2458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM.png\" alt=\"Berkeley rapper LOE Gino looks skyward.\" width=\"2458\" height=\"1616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM.png 2458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-2048x1346.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1920x1262.png 1920w\" sizes=\"(max-width: 2458px) 100vw, 2458px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley rapper LOE Gino looks skyward. \u003ccite>(Jason 'Yeiseon' Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His bars are cerebral and relatable; another human writing to process their thoughts, and at the same time escape their thought process.\u003c/p>\n\u003cp>“Craft brew drinker, with the cold pizza / Thoughts everywhere, I’m a fucking over-thinker / Never trip when they catted, I just turned them into believers / Showed up for myself and that’s on Citas,” he says in the song “What’s Life Supposed To Look Like?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That idea of showing up for yourself, or SUFY, is a guiding principle in his career and brand. When he invited me over to listen to his new project, I had to show up.\u003c/p>\n\u003cp>[aside postID='arts_13950855']Inside his home garage-slash studio space, Gino sat with his friend and multimedia producer, \u003ca href=\"https://www.instagram.com/cheatcodeproductions_/\" target=\"_blank\" rel=\"noopener\">Cheatcode\u003c/a>, who handed me a pair of studio headphones. The plan was for me to listen to Gino’s new release, \u003ca href=\"https://linktr.ee/loegino\">\u003ci>Everything Gone Be Aight\u003c/i>\u003c/a>, after which they’d film my reaction.\u003c/p>\n\u003cp>While I listened to the 15 minute-long project — head-nodding and stretching my legs on a pair of stairs in the backyard — they made small talk.\u003c/p>\n\u003cp>I can’t recall the last time I pulled up to an artist’s crib and listened to their newest work. Nothing like standing next to someone while they play a recording of themselves, pouring out their heart over drums, snares and guitar riffs. Assessing someone’s latest contribution to humanity while being right next to them. It can make for a very awkward situation. \u003cem>What if the album doesn’t slap?!\u003c/em>\u003c/p>\n\u003cp>That wasn’t the case.\u003c/p>\n\u003cp>[aside postID='arts_13950431']The first three tracks of \u003ci>Everything Gone Be Aight\u003c/i> are fun, full of clever bars and quality production. There’s a cold guitar solo from \u003ca href=\"https://www.instagram.com/gyrefunk/\" target=\"_blank\" rel=\"noopener\">Gyrefunk\u003c/a> on “Lox n Stocks,” and a dope drum breakdown by \u003ca href=\"https://www.instagram.com/deafheff/\" target=\"_blank\" rel=\"noopener\">Deaf Heff\u003c/a> on “Lavender Candles.” The EP’s lyrics reference the things that make Gino who he is: reflective walks in the Berkeley hills, thoughts about deceased loved ones, and Birkenstocks.\u003c/p>\n\u003cp>“Vices,” the fourth track, is a heavy one. I didn’t fully grasp the story being told on first listen, but two lines stood out: “Late night she was typing her essay / Bitch nigga came in the room gave her SA.” A few listens later, I understood that it’s Gino’s account of a young family member’s life both before and after surviving sexual assault.\u003c/p>\n\u003cp>Intimate details like these, both universal and personal, are present throughout the EP. Gino writes about seeing his mother take her last breath, his photosynthetic relationship with his radiant son and his appreciation for lavender and sage.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Whats life supposed to look like?\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YyqvBdS0lSI?list=OLAK5uy_ngXaY_qX7MZ28FRUug1Z1fjpIChdDAcdA\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The project ends with “Brandon Greene,” a 90-second track with bright keys, airy synths and wispy background vocals from \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. Gino writes about pills and anxiety, a nod to the life story of a guy named Brandon, who Gino met at work. During a 20-minute conversation, Brandon opened up about his youthful addiction to pills, and how it manifested as an adult. Gino hasn’t seen or talked to Brandon since, but it’s clear from the track that his story left a lasting impression.\u003c/p>\n\u003cp>Days later, after a few listens, I called Gino and asked him about the inspiration behind this project as a whole. While on the job, between shouting instructions and making deliveries, he answered with “the hard shit I go through.” Laughing, he noted that being able to adjust and persevere are key, and that ultimately, it’s his ever-cool mindset that pushed him to make this music.\u003c/p>\n\u003cp>As he says: “Everything gone be alright, even when it’s looking like it’s not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>LOE Gino’s ‘\u003ca href=\"https://linktr.ee/loegino\">\u003ci>Everything Gone Be Aight\u003c/i>\u003c/a>‘ is \u003ca href=\"https://linktr.ee/loegino\">out now\u003c/a>. He performs live on \u003ca href=\"https://www.etix.com/ticket/p/60493678/live-in-the-atriumloe-gino-dave-steezy-santa-cruz-the-catalyst-atrium\">Sunday, March 24 at the Catalyst Atrium in Santa Cruz\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"LOE Gino raps with equal ease about heavy moments, like his mother's dying breath, and everyday joys.","status":"publish","parent":0,"modified":1709071162,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":829},"headData":{"title":"Berkeley Rapper LOE Gino's Got Birkenstocks — and Bars | KQED","description":"LOE Gino raps with equal ease about heavy moments, like his mother's dying breath, and everyday joys.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few things to know about Berkeley’s \u003ca href=\"https://www.instagram.com/loe.gino/\">LOE Gino\u003c/a>: He’s a rapper, delivery truck driver, and a self-proclaimed foodie. He avidly rocks Birkenstock sandals, \u003cem>with\u003c/em> socks, and has a clever way of putting personal pain into his art.\u003c/p>\n\u003cp>The first part of his stage name, LOE, stands for \u003ca href=\"https://www.berkeleyside.org/2021/07/22/berkeley-hip-hop-artist-loe-gino\">loyalty over everything\u003c/a>. The second part, Gino, comes from his late mother, Gina.\u003c/p>\n\u003cp>At 6’3″ with locs, shaved at the side, he stands out in a crowd — and he’s often in one. He’s rocked stages all over the region, from \u003ca href=\"https://www.instagram.com/p/CvxpteTyGdI/?img_index=1\">The Plant Queen\u003c/a> nursery shop in his hometown of Berkeley to \u003ca href=\"https://www.instagram.com/p/C3RNmJrR_Jd/\">LaRussell’s pergola in Vallejo\u003c/a>. Last fall, I saw him perform a full set at Lola’s Lounge in Sacramento — a good portion of it while holding his young son.\u003c/p>\n\u003cfigure id=\"attachment_13953018\" class=\"wp-caption aligncenter\" style=\"max-width: 2458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM.png\" alt=\"Berkeley rapper LOE Gino looks skyward.\" width=\"2458\" height=\"1616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM.png 2458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-2048x1346.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screenshot-2024-02-26-at-1.01.06-PM-1920x1262.png 1920w\" sizes=\"(max-width: 2458px) 100vw, 2458px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley rapper LOE Gino looks skyward. \u003ccite>(Jason 'Yeiseon' Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His bars are cerebral and relatable; another human writing to process their thoughts, and at the same time escape their thought process.\u003c/p>\n\u003cp>“Craft brew drinker, with the cold pizza / Thoughts everywhere, I’m a fucking over-thinker / Never trip when they catted, I just turned them into believers / Showed up for myself and that’s on Citas,” he says in the song “What’s Life Supposed To Look Like?”\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>That idea of showing up for yourself, or SUFY, is a guiding principle in his career and brand. When he invited me over to listen to his new project, I had to show up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Inside his home garage-slash studio space, Gino sat with his friend and multimedia producer, \u003ca href=\"https://www.instagram.com/cheatcodeproductions_/\" target=\"_blank\" rel=\"noopener\">Cheatcode\u003c/a>, who handed me a pair of studio headphones. The plan was for me to listen to Gino’s new release, \u003ca href=\"https://linktr.ee/loegino\">\u003ci>Everything Gone Be Aight\u003c/i>\u003c/a>, after which they’d film my reaction.\u003c/p>\n\u003cp>While I listened to the 15 minute-long project — head-nodding and stretching my legs on a pair of stairs in the backyard — they made small talk.\u003c/p>\n\u003cp>I can’t recall the last time I pulled up to an artist’s crib and listened to their newest work. Nothing like standing next to someone while they play a recording of themselves, pouring out their heart over drums, snares and guitar riffs. Assessing someone’s latest contribution to humanity while being right next to them. It can make for a very awkward situation. \u003cem>What if the album doesn’t slap?!\u003c/em>\u003c/p>\n\u003cp>That wasn’t the case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950431","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The first three tracks of \u003ci>Everything Gone Be Aight\u003c/i> are fun, full of clever bars and quality production. There’s a cold guitar solo from \u003ca href=\"https://www.instagram.com/gyrefunk/\" target=\"_blank\" rel=\"noopener\">Gyrefunk\u003c/a> on “Lox n Stocks,” and a dope drum breakdown by \u003ca href=\"https://www.instagram.com/deafheff/\" target=\"_blank\" rel=\"noopener\">Deaf Heff\u003c/a> on “Lavender Candles.” The EP’s lyrics reference the things that make Gino who he is: reflective walks in the Berkeley hills, thoughts about deceased loved ones, and Birkenstocks.\u003c/p>\n\u003cp>“Vices,” the fourth track, is a heavy one. I didn’t fully grasp the story being told on first listen, but two lines stood out: “Late night she was typing her essay / Bitch nigga came in the room gave her SA.” A few listens later, I understood that it’s Gino’s account of a young family member’s life both before and after surviving sexual assault.\u003c/p>\n\u003cp>Intimate details like these, both universal and personal, are present throughout the EP. Gino writes about seeing his mother take her last breath, his photosynthetic relationship with his radiant son and his appreciation for lavender and sage.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Whats life supposed to look like?\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YyqvBdS0lSI?list=OLAK5uy_ngXaY_qX7MZ28FRUug1Z1fjpIChdDAcdA\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The project ends with “Brandon Greene,” a 90-second track with bright keys, airy synths and wispy background vocals from \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. Gino writes about pills and anxiety, a nod to the life story of a guy named Brandon, who Gino met at work. During a 20-minute conversation, Brandon opened up about his youthful addiction to pills, and how it manifested as an adult. Gino hasn’t seen or talked to Brandon since, but it’s clear from the track that his story left a lasting impression.\u003c/p>\n\u003cp>Days later, after a few listens, I called Gino and asked him about the inspiration behind this project as a whole. While on the job, between shouting instructions and making deliveries, he answered with “the hard shit I go through.” Laughing, he noted that being able to adjust and persevere are key, and that ultimately, it’s his ever-cool mindset that pushed him to make this music.\u003c/p>\n\u003cp>As he says: “Everything gone be alright, even when it’s looking like it’s not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>LOE Gino’s ‘\u003ca href=\"https://linktr.ee/loegino\">\u003ci>Everything Gone Be Aight\u003c/i>\u003c/a>‘ is \u003ca href=\"https://linktr.ee/loegino\">out now\u003c/a>. He performs live on \u003ca href=\"https://www.etix.com/ticket/p/60493678/live-in-the-atriumloe-gino-dave-steezy-santa-cruz-the-catalyst-atrium\">Sunday, March 24 at the Catalyst Atrium in Santa Cruz\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_831","arts_21978","arts_974","arts_5779","arts_585","arts_3800"],"featImg":"arts_13953015","label":"arts_140"}},"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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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