These Bay Area Rap Legends Are Featured in 88rising’s Latest Mega Album
You Never Thought That Hip-Hop Could Take It This Far
Hyphy Kids Got Trauma Pt. 1, ‘In the Building’
Let ’Em Know: Oakland’s New Souls of Mischief Mural
Hiero Day 2023 Affirmed Hip-Hop’s Local Essence — and National Gravity
Goapele: Closer to Hip-Hop Than You Knew
Watch Souls of Mischief Freestyle All-New Verses For '93 Til Infinity'
Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later
The Bay Area Rap Battle Heard 'Round the World
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Its affiliated artists have topped charts internationally, soundtracked Marvel movies, and been embraced by massive festivals and stages around the world.”\u003c/p>\n\u003cp>To kick off this calendar year, 88rising delivered a certified banger with \u003ca href=\"https://www.onestowatch.com/en/blog/1999-write-the-future-88rising-futuristic-music-collective-hella\">the morphing collective 1999 WRITE THE FUTURE\u003c/a>’s album, \u003ci>\u003ca href=\"https://open.spotify.com/album/7nAFPtoN75FBt8WA0CQoBQ\">hella\u003c/a> \u003c/i>\u003ca href=\"https://open.spotify.com/album/7nAFPtoN75FBt8WA0CQoBQ\">\u003ci>(˃╭̣ ╮˂̣)✧♡‧o· ̊\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JeYlDyxp1sY\u003c/p>\n\u003cp>The experimental, kaleidoscopic project — which clearly borrows its namesake from the Bay Area’s infinitely-supplied laboratory of slang — features artists from around the world that span across decades, including Offset, Ghostface Killah, Rick Ross, Busta Rhymes, Smino, Westside Gunn, De La Soul, BADBADNOTGOOD and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among those who contributed to the invite-only recording cypher were \u003ca href=\"https://www.kqed.org/arts/13934676/souls-of-mischief-mural-oakland\">East Oakland’s Souls of Mischief\u003c/a>, Del the Funky Homosapien and San Francisco’s Dan the Automator.\u003c/p>\n\u003cp>Appearing as the fourth and sixteenth tracks on a 24-track compilation, the Bay Area emcees and producer summon the quintessentially chill and poetically funky Northern California vibes that first put them on the map in 1993 — when Souls of Mischief released the still-anthemic title track to their magnum opus, ‘\u003ci>93 Til Infinity\u003c/i>. Their success amorphously continued throughout the decades under the Hiero Imperium umbrella with a smattering of other releases, including Del’s \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">\u003ci>No Need for Alarm\u003c/i>\u003c/a> and Deltron 3030’s (\u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">Del and Dan the Automator’s futuristically-inspired subgroup\u003c/a>) \u003ci>Deltron 3030\u003c/i>. More recently, \u003ca href=\"https://www.kqed.org/arts/13934324/hiero-day-2023-oakland-review-photos\">they’ve upheld the infrastructure of the Bay Area’s rap scene\u003c/a> with their yearly festival, Hiero Day.\u003c/p>\n\u003cp>And though \u003ci>hella (˃╭̣ ╮˂̣)✧♡‧o· ̊\u003c/i> places the wizardly lyricists and producer over 30 years past their debuts, they sound as fresh and explosive on the mic as ever.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"1024\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one particularly smooth transition between Phesto Dee and Tajai in “yes LOvELy,” the emcees exchange a buttery rhyme scheme between each other like a cool handshake, all while loosely alluding to Northern California’s richly independent rap history, a local Major League Soccer team, the state’s tectonic geography and Bay Area political activism:\u003c/p>\n\u003cp>“Grown from the state of the bass kick break [Phesto Dee]/ Home of the Quakes where we make shit shake [Tajai].”\u003c/p>\n\u003cp>The song is laid over a Nujabes-esque cloud and wind rhythm, highlighting a liberated spirituality that the emcees riff on throughout the track with their groovy chorus: “We’re walking on clouds, wind surfing since birth / getting what we’re owed, we know what it’s worth / Souls ’round the globe, the whole of this Earth / shows, hit the road, the dough is dispersed.”\u003c/p>\n\u003cp>Del and Dan appear later in the album with “a LEAp in tIME,” a Japanese video game-sounding odyssey about “a leap in time, back to simpler days / when technological advances are minimal.” And yet, even in time-traveling backwards, Del remains expansive and mind-warping (“shit so deep it’s bending fools / Mr. Cool, everything I control is mystical”).\u003c/p>\n\u003cp>The sounds will transport veteran heads back to the days of backpacks stuffed with spraycans, and for new listeners, might open up an infinite portal of Bay Area discography.\u003c/p>\n\u003cp>Beyond the Bay Area virtuosos laying down their bars like ageless wonders, the album’s free-entry inclusion of rock, R&B and neo-soul delivers an all-encompassing snapshot of what music is becoming in 2024.\u003c/p>\n\u003cp>\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\n","blocks":[],"excerpt":"Souls of Mischief, Del the Funky Homosapien and San Francisco’s Dan the Automator make star turns.","status":"publish","parent":0,"modified":1708019724,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":733},"headData":{"title":"These Bay Area Rap Legends Are Featured in 88rising’s Latest Mega Album | KQED","description":"Souls of Mischief, Del the Funky Homosapien and San Francisco’s Dan the Automator make star turns.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"These Bay Area Rap Legends Are Featured in 88rising’s Latest Mega Album","datePublished":"2024-02-15T00:39:26.000Z","dateModified":"2024-02-15T17:55:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952322/these-bay-area-rap-legends-are-featured-in-88risings-latest-mega-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those in the know, 88rising — the Los Angeles-based, Asian American-owned music company that’s built a cult following around its quirky artistry and high-profile collaborations — has become a mainstay in American music since launching in 2015 (formerly as CXSHXNLY).\u003c/p>\n\u003cp>With a diversely niche and seemingly limitless sense of collective empowerment, the uncategorizable entity and record label has propelled many of the dopest music projects in recent memory. According to \u003ci>Time\u003c/i> magazine, “Alongside the recent surge in popularity of K-pop, as a producer and promoter \u003ca href=\"https://time.com/6316666/88rising-head-in-the-clouds-china/\">88rising has played a pivotal role in narrowing the gap between the Asian and Western music industries\u003c/a>. Its affiliated artists have topped charts internationally, soundtracked Marvel movies, and been embraced by massive festivals and stages around the world.”\u003c/p>\n\u003cp>To kick off this calendar year, 88rising delivered a certified banger with \u003ca href=\"https://www.onestowatch.com/en/blog/1999-write-the-future-88rising-futuristic-music-collective-hella\">the morphing collective 1999 WRITE THE FUTURE\u003c/a>’s album, \u003ci>\u003ca href=\"https://open.spotify.com/album/7nAFPtoN75FBt8WA0CQoBQ\">hella\u003c/a> \u003c/i>\u003ca href=\"https://open.spotify.com/album/7nAFPtoN75FBt8WA0CQoBQ\">\u003ci>(˃╭̣ ╮˂̣)✧♡‧o· ̊\u003c/i>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JeYlDyxp1sY'\n title='//www.youtube.com/embed/JeYlDyxp1sY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The experimental, kaleidoscopic project — which clearly borrows its namesake from the Bay Area’s infinitely-supplied laboratory of slang — features artists from around the world that span across decades, including Offset, Ghostface Killah, Rick Ross, Busta Rhymes, Smino, Westside Gunn, De La Soul, BADBADNOTGOOD and more.\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>Among those who contributed to the invite-only recording cypher were \u003ca href=\"https://www.kqed.org/arts/13934676/souls-of-mischief-mural-oakland\">East Oakland’s Souls of Mischief\u003c/a>, Del the Funky Homosapien and San Francisco’s Dan the Automator.\u003c/p>\n\u003cp>Appearing as the fourth and sixteenth tracks on a 24-track compilation, the Bay Area emcees and producer summon the quintessentially chill and poetically funky Northern California vibes that first put them on the map in 1993 — when Souls of Mischief released the still-anthemic title track to their magnum opus, ‘\u003ci>93 Til Infinity\u003c/i>. Their success amorphously continued throughout the decades under the Hiero Imperium umbrella with a smattering of other releases, including Del’s \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">\u003ci>No Need for Alarm\u003c/i>\u003c/a> and Deltron 3030’s (\u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">Del and Dan the Automator’s futuristically-inspired subgroup\u003c/a>) \u003ci>Deltron 3030\u003c/i>. More recently, \u003ca href=\"https://www.kqed.org/arts/13934324/hiero-day-2023-oakland-review-photos\">they’ve upheld the infrastructure of the Bay Area’s rap scene\u003c/a> with their yearly festival, Hiero Day.\u003c/p>\n\u003cp>And though \u003ci>hella (˃╭̣ ╮˂̣)✧♡‧o· ̊\u003c/i> places the wizardly lyricists and producer over 30 years past their debuts, they sound as fresh and explosive on the mic as ever.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"1024\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one particularly smooth transition between Phesto Dee and Tajai in “yes LOvELy,” the emcees exchange a buttery rhyme scheme between each other like a cool handshake, all while loosely alluding to Northern California’s richly independent rap history, a local Major League Soccer team, the state’s tectonic geography and Bay Area political activism:\u003c/p>\n\u003cp>“Grown from the state of the bass kick break [Phesto Dee]/ Home of the Quakes where we make shit shake [Tajai].”\u003c/p>\n\u003cp>The song is laid over a Nujabes-esque cloud and wind rhythm, highlighting a liberated spirituality that the emcees riff on throughout the track with their groovy chorus: “We’re walking on clouds, wind surfing since birth / getting what we’re owed, we know what it’s worth / Souls ’round the globe, the whole of this Earth / shows, hit the road, the dough is dispersed.”\u003c/p>\n\u003cp>Del and Dan appear later in the album with “a LEAp in tIME,” a Japanese video game-sounding odyssey about “a leap in time, back to simpler days / when technological advances are minimal.” And yet, even in time-traveling backwards, Del remains expansive and mind-warping (“shit so deep it’s bending fools / Mr. Cool, everything I control is mystical”).\u003c/p>\n\u003cp>The sounds will transport veteran heads back to the days of backpacks stuffed with spraycans, and for new listeners, might open up an infinite portal of Bay Area discography.\u003c/p>\n\u003cp>Beyond the Bay Area virtuosos laying down their bars like ageless wonders, the album’s free-entry inclusion of rock, R&B and neo-soul delivers an all-encompassing snapshot of what music is becoming in 2024.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952322/these-bay-area-rap-legends-are-featured-in-88risings-latest-mega-album","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_1088","arts_2284","arts_974","arts_21785"],"featImg":"arts_13934882","label":"arts"},"arts_13939056":{"type":"posts","id":"arts_13939056","meta":{"index":"posts_1591205157","site":"arts","id":"13939056","score":null,"sort":[1702051219000]},"guestAuthors":[],"slug":"the-maturation-of-your-favorite-artists-and-a-look-back-at-hip-hop-50","title":"You Never Thought That Hip-Hop Could Take It This Far","publishDate":1702051219,"format":"standard","headTitle":"You Never Thought That Hip-Hop Could Take It This Far | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“W\u003c/span>hat drew me into hip-hop,” said Tariq Trotter, widely known as Black Thought of the legendary Roots crew, “was that it was, you know, spoken in a language that, you know, people who were 30, 40, 50 years old didn’t understand.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Trotter was \u003ca href=\"https://www.npr.org/2023/11/07/1211025998/tariq-trotter-black-thought-the-roots-questlove-upcycled-self\">in conversation with NPR’s Tonya Mosely\u003c/a> as the two discussed Trotter’s new memoir, \u003cem>The Upcycled Self\u003c/em>. The book charts his path both as an artist and an individual; it includes heavy details about his life, including the murders of both his parents, as well a fire he set in his house at the age of six. Trotter, now 52, is clear about his personal maturation process, and how the culture of hip-hop has grown as well.\u003c/p>\n\u003cp>Trotter appreciates the many subgenres within hip-hop, even if he doesn’t understand them; and that’s because he’s not supposed to. The popular sound of today, drill music, isn’t made for people his age. Trotter, who will be \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=13941\">in discussion with Jelani Cobb at San Francisco’s City Arts & Lectures\u003c/a> on Saturday, Feb. 24, concluded his point by telling Mosely, “We’ve become our parents and grandparents at this point, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13939084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939084\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre 3000 attends the GQ Men of the Year Party 2023 VIP dinner at Chateau Marmont on Nov. 16, 2023 in Los Angeles. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the celebration of what’s widely regarded as hip-hop’s 50th anniversary year comes to an end, I’m waiting for someone to make one of those montages that plays at the end of a movie. You know, where they show a sepia-colored portrait of each prominent character, overlaid with a couple lines about what eventually came of their lives.\u003c/p>\n\u003cp>When the cheesy music starts, the first image could be of OutKast, the famed Atlanta duo who showed the world that you can rhyme about Cadillacs and spaceships in the same breath. André 3000, who made his mark at the 1995 Source Awards (“\u003ca href=\"https://www.youtube.com/watch?v=jyxaYc9F48Y\">the south got something to say\u003c/a>”), is now a world-traveling flutist who dropped a full-length jazz album. Meanwhile, his former partner in rhyme, Big Boi, a renowned lyricist and actor who played the role of a dope dealer named Marcus in the hit movie \u003cem>ATL\u003c/em>, has become \u003ca href=\"https://www.revolt.tv/article/2022-09-29/213913/big-boi-trends-as-stunned-fans-marvel-over-his-owl-collection/\">an owler\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Members of the collective that birthed OutKast, the Dungeon Family, have also gone on to \u003ca href=\"https://www.youtube.com/watch?v=-N4jf6rtyuw\">notable\u003c/a> \u003ca href=\"https://beats-rhymes-lists.com/facts/future-originally-member-atlanta-dungeon-family/\">things\u003c/a>. Just a few years after a \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/26/596988606/killer-mike-apologizes-for-interview-with-nra-claims-it-was-misused\">controversial interview with the NRA\u003c/a>, and forming an odd-couple partnership with Senator Bernie Sanders during his 2020 presidential run, lyricist Killer Mike dropped Michael, one of the most critically acclaimed albums of the year. Even at the big age of 48, folks can still rap.\u003c/p>\n\u003cfigure id=\"attachment_13828022\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411.jpg\" alt=\"\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Killer Mike performing in Atlanta in 2017. \u003ccite>(David A. Smith/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of old heads from Atlanta who can still gas a track: Ludacris has entered the chat. In addition to co-starring in the Christmas film \u003cem>\u003ca href=\"https://www.imdb.com/title/tt5608166/\">Dashing Through The Snow\u003c/a>\u003c/em>, creating a charming children’s show called \u003cem>\u003ca href=\"https://www.karmasworld.com/p/1\">Karma’s World\u003c/a>\u003c/em>, and doing \u003ca href=\"https://www.youtube.com/watch?v=c3WaUZhvjK4\">commercials for State Farm Insurance\u003c/a>, at age 46 Luda is reportedly \u003ca href=\"https://people.com/ludacris-to-release-new-music-2024-after-taking-step-back-8405825\">working on an album\u003c/a> for 2024. (\u003ca href=\"https://www.instagram.com/reel/CoL-fnvAlAq/?utm_source=ig_web_copy_link\">He still has bars\u003c/a>.)\u003c/p>\n\u003cp>But not everyone is doing well with maturation. Again in Atlanta, rapper T.I.’s life has become a bit of a walking reality show. Despite his large vocabulary and investment in \u003ca href=\"https://www.wsbtv.com/news/local/atlanta/atlanta-rapper-ti-celebrates-opening-his-first-affordable-housing-development/5IYPKMYWTJB33KHSZX3VK6XHN4/\">real estate properties\u003c/a>, T.I., who at the age of 43 recently announced an impending double album and subsequent \u003ca href=\"https://allrapnews.com/news/t-i-to-retire-from-rap-with-final-double-album-featuring-nba-youngboy/\">retirement from rap\u003c/a>, has been the butt of jokes about \u003ca href=\"https://globalnews.ca/news/6214889/ti-daughter-hymen-controversy/\">family issues\u003c/a>. Most recently, the King of the South had to deal with a \u003ca href=\"https://theshaderoom.com/settin-things-straight-t-i-addresses-viral-scuffle-with-son-king-harris/\">recorded altercation with his son\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13923938']Speaking of hip-hop icons and domestic disputes: Diddy.\u003c/p>\n\u003cp>After changing his name again, this time to “Brother Love,” and dropping an album titled \u003cem>The Love Album: Off the Grid\u003c/em>, it’s become extremely apparent that 54 year-old Diddy, real name Sean Combs, is the polar opposite of love. Just days after being \u003ca href=\"https://www.npr.org/2023/11/17/1213684443/lawsuit-accuses-sean-diddy-combs-of-trafficking-sexual-assault-and-abuse\">sued by musician and former girlfriend Cassie\u003c/a> for trafficking, rape, assault and more, Combs settled the case out of court, expeditiously. A few days later, Combs, who recently stepped down as Chairman of Revolt TV, was served with additional lawsuits from different women who alleged similar crimes. \u003cem>More money, more problems\u003c/em>.\u003c/p>\n\u003cp>On the topic of people involved in the mid-’90s East Coast / West Coast beef and the law: \u003ca href=\"https://www.npr.org/2023/09/29/1202716171/tupac-shakur-killing-duane-davis-indicted\">Duane “Keffe D” Davis\u003c/a> is now in prison for charges related to the murder of Tupac Shakur after his arrest earlier this fall. Just a few months later, in an unrelated but relevant story, \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur’s name was immortalized\u003c/a> during a street naming ceremony in \u003ca href=\"https://www.youtube.com/watch?v=yCYT3T3UBdw\">the city he got his game from\u003c/a>, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13937625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The sign for ‘Tupac Shakur Way’ is unveiled during a renaming ceremony in Oakland, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late last year, the City of Oakland also unveiled \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">a street sign recognizing 57 year-old Too Short’s contributions\u003c/a> to the culture in front of his alma mater, Fremont High School. Additionally, while dropping an album, releasing a cookbook, and selling enough liquor to sink a ship, 56 year-old entrepreneur \u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40 got a part of Magazine Street in Vallejo named in his honor\u003c/a>.\u003c/p>\n\u003cp>Staying in the Bay, the Hieroglyphics crew’s Souls of Mischief, who three decades ago famously predicted that they’d be chillin’ until the clock strikes infinity, are doing a lot more than just chillin’. They initially set out to do 93 shows this year to celebrate the 30th anniversary of their song “93 ’Til Infinity.” As of today, they’ve done 117 shows across multiple continents, and they’ve also \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">recorded new verses over the “93 ’Til Infinity” instrumental\u003c/a>.\u003c/p>\n\u003cp>Another member of \u003ca href=\"https://www.npr.org/sections/therecord/2013/04/17/177326079/this-was-1993-20-years-ago-i-heard-the-perfect-rap-song\">the class of ’93\u003c/a> from Oakland, 52 year-old Boots Riley, has been on a run. His 2023 TV series about a giant Black man from East Oakland, \u003cem>I’m A Virgo\u003c/em>, has been nominated for multiple awards. Behind the scenes, Boots has continued to point out injustices in our society, with a focus on the predatory nature of capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13933475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED.jpg\" alt=\"A person in a very tall hat speaks in to a set of microphones at a podium in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley speaks at the 2023 Writers Guild Of America Strike: Rally And March at Pan Pacific Park on June 21, 2023 in Los Angeles. \u003ccite>(Momodu Mansaray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the subject of early ’90s West Coast MCs who once used their music to give the middle finger to Uncle Sam before turning to film, there’s Ice Cube. The good news is that Cube, the 54 year-old founder of the Big3 basketball league, is still making music and movies, just as he did three decades ago. The bad news? \u003ca href=\"https://www.vibe.com/news/entertainment/ice-cube-tucker-carlson-interview-many-fans-disappointed-1234775390/\">He’s also giving tours of the hood to conservative white folks\u003c/a>. Then again, that’s kind of what mainstream “gangsta rappers” have always done, right?\u003c/p>\n\u003cp>Politics hasn’t always been the most welcoming arena for hip-hop artists, but just this past week, 53 year-old \u003ca href=\"https://www.npr.org/2023/12/04/1215901880/queen-latifah-billy-crystal-and-others-celebrated-at-kennedy-center-honors\">Queen Latifah\u003c/a> received praise from President Joe Biden as she became the first female rap artist to receive the prestigious Kennedy Center Honor.\u003c/p>\n\u003cp>While we’re awarding artists who’ve done the work and then some, let’s talk about the ever-influential \u003ca href=\"https://www.rockhall.com/inductees/missy-elliott?gad_source=1&gclid=Cj0KCQiAsburBhCIARIsAExmsu7TtF4zNeILr0texP3h8TsAue-XEitgt7gIgGsbddEAcVvheVatO24aAokcEALw_wcB\">Missy Elliott\u003c/a>, who at the age of 52 was inducted into the Rock & Roll Hall of Fame this year. (68 year-old DJ Kool Herc, a founding father of hip-hop, joined her as a 2023 inductee.)\u003c/p>\n\u003cfigure id=\"attachment_13915629\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-scaled.jpg\" alt=\"A close-up of a Black woman's face with colorful eyeliner, as she sings into a microphone\" width=\"2560\" height=\"1725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1920x1294.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lauryn Hill has written about feeling pressured to choose between her career and motherhood. \u003ccite>(Paul Hawthorne/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the revelation that Fugees member \u003ca href=\"https://www.npr.org/2023/04/26/1172368058/former-fugees-musician-pras-michel-found-guilty-of-10-criminal-charges\">Pras was once a federal agent\u003c/a>, that didn’t stop 48 year-old Lauryn Hill and the crew from reuniting for a few shows around the country, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/lauryn-hill-oakland-concert-18467645.php\">including one last month in Oakland\u003c/a>.\u003c/p>\n\u003cp>There are veteran artists doing completely unforeseen things, like \u003ca href=\"https://www.xxlmag.com/redman-licensed-skydiver/\">Redman (age 53) becoming a licensed skydiver\u003c/a> or \u003ca href=\"https://www.complex.com/music/a/jaelaniturnerwilliams/twista-raps-overnight-celebrity-over-gun-shots\">Twista (age 50) teaching firearm safety and rapping to the sound of bullets flying\u003c/a> at a shooting range. And then there are artists continuing what they’ve been doing, just at a higher level. Method Man is a certified actor who still periodically drops a verse here and there, and at the age of 52 \u003ca href=\"https://www.menshealth.com/health/a44665280/method-man-hip-hop-50-interview/\">moonlights as a sex symbol\u003c/a>. Lil Kim, who at 49 has her own claim as a sex symbol, just \u003ca href=\"https://www.porchlightbooks.com/product/queen-bee_4--lil-kim\">penned a memoir\u003c/a> that’s set to release next year. Texas OG Bun B, a 50 year-old who \u003ca href=\"https://www.youtube.com/watch?v=UMCSP5yNLQk\">knows his way around the kitchen\u003c/a>, has opened a restaurant called \u003ca href=\"https://www.houstonpublicmedia.org/articles/arts-culture/food/2023/06/07/453856/bun-bs-trill-burgers-launches-first-brick-and-mortar-location-in-houston/\">Trill Burgers\u003c/a>. The ever-fashionable megaproducer Pharrell, who doesn’t age despite government records showing he’s 50, is now \u003ca href=\"https://www.nytimes.com/2023/06/18/style/louis-vuitton-menswear-pharrell-williams-louis-vuittons.html\">designing for Louis Vuitton\u003c/a>. And 53 year-old MC Lyte, whose voice dropped rock-heavy flows when hip-hop was in its nascent form and has since gone on to host award shows, is now using her voice to talk to the \u003ca href=\"https://afrotech.com/mc-lyte-supporting-black-girls-in-tech/\">next generation of Black girls interested in coding\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932398\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rakim performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s take a second to pause, and acknowledge the many hip-hop artists who’ve died at a young age due to poor health. And follow that by celebrating and supporting the legends who are living, like \u003ca href=\"https://www.vibe.com/gallery/paid-in-full-foundations-inaugural-hip-hop-grandmaster-awards-rakim-nas-1234814725/\">Scarface (53) and Rakim (55)\u003c/a>, who both recently received healthcare benefits and financial support from the Paid in Full Foundation. Health concerns for our aging icons are also part of the reason folks’ ears perked up when 52 year-old Snoop Dogg posted on social media that he’s “done with smoke.” And, because he’s Snoop, we weren’t surprised when the news turned out to be a commercial for \u003ca href=\"https://people.com/snoop-dogg-not-giving-up-weed-announces-collaboration-with-smokeless-fire-pit-brand-8404736\">a smoke-free fire pit\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13934874']In this 50th year of hip-hop, we’re grateful to see the resolution of feuds between artists. \u003ca href=\"https://www.vibe.com/news/entertainment/camron-mase-sign-talk-show-deal-1234782595/\">Ma$e (48) and Cam’ron (47) reunited\u003c/a> and created “It Is What It Is,” a talk show that’s full of laughs and insight on current events. North Carolina’s hip-hop duo Little Brother recently released a documentary film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=H_LQmpx5l-E\">May the Lord Watch: The Little Brother Story\u003c/a>\u003c/em>, highlighting their friendship’s trajectory. And on the more romantic side of reunions, Nelly and Ashanti got back together, and are expecting their first child.\u003c/p>\n\u003cp>That’s a good segue to the news that at the age of 48, the first woman to go platinum as a rap artist, Da Brat, \u003ca href=\"https://www.ajc.com/life/radiotvtalk-blog/da-brat-amazed-and-grateful-for-baby-son-at-age-48/QLNVH4K4I5FWRLJ6FDTNEQAMVU/\">just gave birth to a baby boy\u003c/a>.\u003c/p>\n\u003cp>You never thought that hip-hop would take it this far.\u003c/p>\n\u003cfigure id=\"attachment_13939085\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk.jpg\" alt=\"\" width=\"1400\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-768x432.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Juvenile performs with Mannie Fresh and an all-star band at the NPR offices in a Tiny Desk Concert. \u003ccite>(Catie Dull/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither could we have imagined that at the age 45, Trina, Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BvsPwwphxrg\">Whoop-whoop, pull over, that ass is too fat\u003c/a>,” would be performing at the offices of National Public Radio. Nor \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ\">Mr. Back That Azz Up\u003c/a>, a.k.a. Juvenile (48), for that matter. But yes, both happened this year.\u003c/p>\n\u003cp>A half-century since hip-hop started and there are many reasons to rejoice, despite some of the unsavory news. As fans, we’re appreciative that the catalogs of Young Jeezy and De La Soul are now on streaming sites. And we’re equally appreciative that there’s new music from the likes of J.Cole, Lil Wayne and Nas, who at age 50, has dropped multiple award-winning albums in the past five years and had a resurrection unlike anyone else in the game—with the possible exception of Black Thought.\u003c/p>\n\u003cp>When Tariq Trotter isn’t rocking as a part of the house band for \u003cem>Late Night with Jimmy Fallon\u003c/em>, he’s writing off-Broadway plays and acting in films. But don’t think for a second he can’t spit a \u003ca href=\"https://www.youtube.com/watch?v=prmQgSpV3fA\">scorching freestyle\u003c/a>, too. He’s dropped verses on projects with younger rappers that show he hasn’t lost a step. And he’s put out a few highly acclaimed projects over the past couple years — arguably some of his best work — with music that speaks to middle-aged hip-hop heads.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During his interview with NPR, Black Thought talked about maturing, and that he feels more comfortable sharing more intimate details of his life. “As artists, there’s a dance, there’s a negotiation that takes place,” Trotter told Mosely. “But it’s the sort of thing that I was holding on to for the right moment — you know what I mean? For when it made the most sense. And that’s right now.”\u003c/p>\n\u003cp>And that right there is all the more reason to appreciate the aging process.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Black Thought appears in discussion with Jelani Cobb on Saturday, Feb. 24, at the Sydney Goldstein Theatre in San Francisco as part of City Arts & Lectures. \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=13941\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Hip-Hop at 50 and the maturation of your favorite artists.","status":"publish","parent":0,"modified":1708620742,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":2251},"headData":{"title":"You Never Thought That Hip-Hop Could Take It This Far | KQED","description":"Hip-Hop at 50 and the maturation of your favorite artists.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"You Never Thought That Hip-Hop Could Take It This Far","datePublished":"2023-12-08T16:00:19.000Z","dateModified":"2024-02-22T16:52:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13939056/the-maturation-of-your-favorite-artists-and-a-look-back-at-hip-hop-50","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“W\u003c/span>hat drew me into hip-hop,” said Tariq Trotter, widely known as Black Thought of the legendary Roots crew, “was that it was, you know, spoken in a language that, you know, people who were 30, 40, 50 years old didn’t understand.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Trotter was \u003ca href=\"https://www.npr.org/2023/11/07/1211025998/tariq-trotter-black-thought-the-roots-questlove-upcycled-self\">in conversation with NPR’s Tonya Mosely\u003c/a> as the two discussed Trotter’s new memoir, \u003cem>The Upcycled Self\u003c/em>. The book charts his path both as an artist and an individual; it includes heavy details about his life, including the murders of both his parents, as well a fire he set in his house at the age of six. Trotter, now 52, is clear about his personal maturation process, and how the culture of hip-hop has grown as well.\u003c/p>\n\u003cp>Trotter appreciates the many subgenres within hip-hop, even if he doesn’t understand them; and that’s because he’s not supposed to. The popular sound of today, drill music, isn’t made for people his age. Trotter, who will be \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=13941\">in discussion with Jelani Cobb at San Francisco’s City Arts & Lectures\u003c/a> on Saturday, Feb. 24, concluded his point by telling Mosely, “We’ve become our parents and grandparents at this point, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13939084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939084\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Andre.3000-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre 3000 attends the GQ Men of the Year Party 2023 VIP dinner at Chateau Marmont on Nov. 16, 2023 in Los Angeles. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the celebration of what’s widely regarded as hip-hop’s 50th anniversary year comes to an end, I’m waiting for someone to make one of those montages that plays at the end of a movie. You know, where they show a sepia-colored portrait of each prominent character, overlaid with a couple lines about what eventually came of their lives.\u003c/p>\n\u003cp>When the cheesy music starts, the first image could be of OutKast, the famed Atlanta duo who showed the world that you can rhyme about Cadillacs and spaceships in the same breath. André 3000, who made his mark at the 1995 Source Awards (“\u003ca href=\"https://www.youtube.com/watch?v=jyxaYc9F48Y\">the south got something to say\u003c/a>”), is now a world-traveling flutist who dropped a full-length jazz album. Meanwhile, his former partner in rhyme, Big Boi, a renowned lyricist and actor who played the role of a dope dealer named Marcus in the hit movie \u003cem>ATL\u003c/em>, has become \u003ca href=\"https://www.revolt.tv/article/2022-09-29/213913/big-boi-trends-as-stunned-fans-marvel-over-his-owl-collection/\">an owler\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>Members of the collective that birthed OutKast, the Dungeon Family, have also gone on to \u003ca href=\"https://www.youtube.com/watch?v=-N4jf6rtyuw\">notable\u003c/a> \u003ca href=\"https://beats-rhymes-lists.com/facts/future-originally-member-atlanta-dungeon-family/\">things\u003c/a>. Just a few years after a \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/26/596988606/killer-mike-apologizes-for-interview-with-nra-claims-it-was-misused\">controversial interview with the NRA\u003c/a>, and forming an odd-couple partnership with Senator Bernie Sanders during his 2020 presidential run, lyricist Killer Mike dropped Michael, one of the most critically acclaimed albums of the year. Even at the big age of 48, folks can still rap.\u003c/p>\n\u003cfigure id=\"attachment_13828022\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411.jpg\" alt=\"\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-632359900_wide-75cfc86b44dfbaea982eba0457af104c57871411-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Killer Mike performing in Atlanta in 2017. \u003ccite>(David A. Smith/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of old heads from Atlanta who can still gas a track: Ludacris has entered the chat. In addition to co-starring in the Christmas film \u003cem>\u003ca href=\"https://www.imdb.com/title/tt5608166/\">Dashing Through The Snow\u003c/a>\u003c/em>, creating a charming children’s show called \u003cem>\u003ca href=\"https://www.karmasworld.com/p/1\">Karma’s World\u003c/a>\u003c/em>, and doing \u003ca href=\"https://www.youtube.com/watch?v=c3WaUZhvjK4\">commercials for State Farm Insurance\u003c/a>, at age 46 Luda is reportedly \u003ca href=\"https://people.com/ludacris-to-release-new-music-2024-after-taking-step-back-8405825\">working on an album\u003c/a> for 2024. (\u003ca href=\"https://www.instagram.com/reel/CoL-fnvAlAq/?utm_source=ig_web_copy_link\">He still has bars\u003c/a>.)\u003c/p>\n\u003cp>But not everyone is doing well with maturation. Again in Atlanta, rapper T.I.’s life has become a bit of a walking reality show. Despite his large vocabulary and investment in \u003ca href=\"https://www.wsbtv.com/news/local/atlanta/atlanta-rapper-ti-celebrates-opening-his-first-affordable-housing-development/5IYPKMYWTJB33KHSZX3VK6XHN4/\">real estate properties\u003c/a>, T.I., who at the age of 43 recently announced an impending double album and subsequent \u003ca href=\"https://allrapnews.com/news/t-i-to-retire-from-rap-with-final-double-album-featuring-nba-youngboy/\">retirement from rap\u003c/a>, has been the butt of jokes about \u003ca href=\"https://globalnews.ca/news/6214889/ti-daughter-hymen-controversy/\">family issues\u003c/a>. Most recently, the King of the South had to deal with a \u003ca href=\"https://theshaderoom.com/settin-things-straight-t-i-addresses-viral-scuffle-with-son-king-harris/\">recorded altercation with his son\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Speaking of hip-hop icons and domestic disputes: Diddy.\u003c/p>\n\u003cp>After changing his name again, this time to “Brother Love,” and dropping an album titled \u003cem>The Love Album: Off the Grid\u003c/em>, it’s become extremely apparent that 54 year-old Diddy, real name Sean Combs, is the polar opposite of love. Just days after being \u003ca href=\"https://www.npr.org/2023/11/17/1213684443/lawsuit-accuses-sean-diddy-combs-of-trafficking-sexual-assault-and-abuse\">sued by musician and former girlfriend Cassie\u003c/a> for trafficking, rape, assault and more, Combs settled the case out of court, expeditiously. A few days later, Combs, who recently stepped down as Chairman of Revolt TV, was served with additional lawsuits from different women who alleged similar crimes. \u003cem>More money, more problems\u003c/em>.\u003c/p>\n\u003cp>On the topic of people involved in the mid-’90s East Coast / West Coast beef and the law: \u003ca href=\"https://www.npr.org/2023/09/29/1202716171/tupac-shakur-killing-duane-davis-indicted\">Duane “Keffe D” Davis\u003c/a> is now in prison for charges related to the murder of Tupac Shakur after his arrest earlier this fall. Just a few months later, in an unrelated but relevant story, \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur’s name was immortalized\u003c/a> during a street naming ceremony in \u003ca href=\"https://www.youtube.com/watch?v=yCYT3T3UBdw\">the city he got his game from\u003c/a>, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13937625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-TupakShakurWay-27-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The sign for ‘Tupac Shakur Way’ is unveiled during a renaming ceremony in Oakland, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late last year, the City of Oakland also unveiled \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">a street sign recognizing 57 year-old Too Short’s contributions\u003c/a> to the culture in front of his alma mater, Fremont High School. Additionally, while dropping an album, releasing a cookbook, and selling enough liquor to sink a ship, 56 year-old entrepreneur \u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40 got a part of Magazine Street in Vallejo named in his honor\u003c/a>.\u003c/p>\n\u003cp>Staying in the Bay, the Hieroglyphics crew’s Souls of Mischief, who three decades ago famously predicted that they’d be chillin’ until the clock strikes infinity, are doing a lot more than just chillin’. They initially set out to do 93 shows this year to celebrate the 30th anniversary of their song “93 ’Til Infinity.” As of today, they’ve done 117 shows across multiple continents, and they’ve also \u003ca href=\"https://www.kqed.org/arts/13932471/souls-of-mischief-freestyle-93-til-infinity\">recorded new verses over the “93 ’Til Infinity” instrumental\u003c/a>.\u003c/p>\n\u003cp>Another member of \u003ca href=\"https://www.npr.org/sections/therecord/2013/04/17/177326079/this-was-1993-20-years-ago-i-heard-the-perfect-rap-song\">the class of ’93\u003c/a> from Oakland, 52 year-old Boots Riley, has been on a run. His 2023 TV series about a giant Black man from East Oakland, \u003cem>I’m A Virgo\u003c/em>, has been nominated for multiple awards. Behind the scenes, Boots has continued to point out injustices in our society, with a focus on the predatory nature of capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13933475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED.jpg\" alt=\"A person in a very tall hat speaks in to a set of microphones at a podium in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230818-BOOTS-RILEY-Getty-MM-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley speaks at the 2023 Writers Guild Of America Strike: Rally And March at Pan Pacific Park on June 21, 2023 in Los Angeles. \u003ccite>(Momodu Mansaray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the subject of early ’90s West Coast MCs who once used their music to give the middle finger to Uncle Sam before turning to film, there’s Ice Cube. The good news is that Cube, the 54 year-old founder of the Big3 basketball league, is still making music and movies, just as he did three decades ago. The bad news? \u003ca href=\"https://www.vibe.com/news/entertainment/ice-cube-tucker-carlson-interview-many-fans-disappointed-1234775390/\">He’s also giving tours of the hood to conservative white folks\u003c/a>. Then again, that’s kind of what mainstream “gangsta rappers” have always done, right?\u003c/p>\n\u003cp>Politics hasn’t always been the most welcoming arena for hip-hop artists, but just this past week, 53 year-old \u003ca href=\"https://www.npr.org/2023/12/04/1215901880/queen-latifah-billy-crystal-and-others-celebrated-at-kennedy-center-honors\">Queen Latifah\u003c/a> received praise from President Joe Biden as she became the first female rap artist to receive the prestigious Kennedy Center Honor.\u003c/p>\n\u003cp>While we’re awarding artists who’ve done the work and then some, let’s talk about the ever-influential \u003ca href=\"https://www.rockhall.com/inductees/missy-elliott?gad_source=1&gclid=Cj0KCQiAsburBhCIARIsAExmsu7TtF4zNeILr0texP3h8TsAue-XEitgt7gIgGsbddEAcVvheVatO24aAokcEALw_wcB\">Missy Elliott\u003c/a>, who at the age of 52 was inducted into the Rock & Roll Hall of Fame this year. (68 year-old DJ Kool Herc, a founding father of hip-hop, joined her as a 2023 inductee.)\u003c/p>\n\u003cfigure id=\"attachment_13915629\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915629\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-scaled.jpg\" alt=\"A close-up of a Black woman's face with colorful eyeliner, as she sings into a microphone\" width=\"2560\" height=\"1725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-57095278-1920x1294.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lauryn Hill has written about feeling pressured to choose between her career and motherhood. \u003ccite>(Paul Hawthorne/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the revelation that Fugees member \u003ca href=\"https://www.npr.org/2023/04/26/1172368058/former-fugees-musician-pras-michel-found-guilty-of-10-criminal-charges\">Pras was once a federal agent\u003c/a>, that didn’t stop 48 year-old Lauryn Hill and the crew from reuniting for a few shows around the country, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/lauryn-hill-oakland-concert-18467645.php\">including one last month in Oakland\u003c/a>.\u003c/p>\n\u003cp>There are veteran artists doing completely unforeseen things, like \u003ca href=\"https://www.xxlmag.com/redman-licensed-skydiver/\">Redman (age 53) becoming a licensed skydiver\u003c/a> or \u003ca href=\"https://www.complex.com/music/a/jaelaniturnerwilliams/twista-raps-overnight-celebrity-over-gun-shots\">Twista (age 50) teaching firearm safety and rapping to the sound of bullets flying\u003c/a> at a shooting range. And then there are artists continuing what they’ve been doing, just at a higher level. Method Man is a certified actor who still periodically drops a verse here and there, and at the age of 52 \u003ca href=\"https://www.menshealth.com/health/a44665280/method-man-hip-hop-50-interview/\">moonlights as a sex symbol\u003c/a>. Lil Kim, who at 49 has her own claim as a sex symbol, just \u003ca href=\"https://www.porchlightbooks.com/product/queen-bee_4--lil-kim\">penned a memoir\u003c/a> that’s set to release next year. Texas OG Bun B, a 50 year-old who \u003ca href=\"https://www.youtube.com/watch?v=UMCSP5yNLQk\">knows his way around the kitchen\u003c/a>, has opened a restaurant called \u003ca href=\"https://www.houstonpublicmedia.org/articles/arts-culture/food/2023/06/07/453856/bun-bs-trill-burgers-launches-first-brick-and-mortar-location-in-houston/\">Trill Burgers\u003c/a>. The ever-fashionable megaproducer Pharrell, who doesn’t age despite government records showing he’s 50, is now \u003ca href=\"https://www.nytimes.com/2023/06/18/style/louis-vuitton-menswear-pharrell-williams-louis-vuittons.html\">designing for Louis Vuitton\u003c/a>. And 53 year-old MC Lyte, whose voice dropped rock-heavy flows when hip-hop was in its nascent form and has since gone on to host award shows, is now using her voice to talk to the \u003ca href=\"https://afrotech.com/mc-lyte-supporting-black-girls-in-tech/\">next generation of Black girls interested in coding\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932398\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rakim performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s take a second to pause, and acknowledge the many hip-hop artists who’ve died at a young age due to poor health. And follow that by celebrating and supporting the legends who are living, like \u003ca href=\"https://www.vibe.com/gallery/paid-in-full-foundations-inaugural-hip-hop-grandmaster-awards-rakim-nas-1234814725/\">Scarface (53) and Rakim (55)\u003c/a>, who both recently received healthcare benefits and financial support from the Paid in Full Foundation. Health concerns for our aging icons are also part of the reason folks’ ears perked up when 52 year-old Snoop Dogg posted on social media that he’s “done with smoke.” And, because he’s Snoop, we weren’t surprised when the news turned out to be a commercial for \u003ca href=\"https://people.com/snoop-dogg-not-giving-up-weed-announces-collaboration-with-smokeless-fire-pit-brand-8404736\">a smoke-free fire pit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934874","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In this 50th year of hip-hop, we’re grateful to see the resolution of feuds between artists. \u003ca href=\"https://www.vibe.com/news/entertainment/camron-mase-sign-talk-show-deal-1234782595/\">Ma$e (48) and Cam’ron (47) reunited\u003c/a> and created “It Is What It Is,” a talk show that’s full of laughs and insight on current events. North Carolina’s hip-hop duo Little Brother recently released a documentary film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=H_LQmpx5l-E\">May the Lord Watch: The Little Brother Story\u003c/a>\u003c/em>, highlighting their friendship’s trajectory. And on the more romantic side of reunions, Nelly and Ashanti got back together, and are expecting their first child.\u003c/p>\n\u003cp>That’s a good segue to the news that at the age of 48, the first woman to go platinum as a rap artist, Da Brat, \u003ca href=\"https://www.ajc.com/life/radiotvtalk-blog/da-brat-amazed-and-grateful-for-baby-son-at-age-48/QLNVH4K4I5FWRLJ6FDTNEQAMVU/\">just gave birth to a baby boy\u003c/a>.\u003c/p>\n\u003cp>You never thought that hip-hop would take it this far.\u003c/p>\n\u003cfigure id=\"attachment_13939085\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk.jpg\" alt=\"\" width=\"1400\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Juvenile.TinyDesk-768x432.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Juvenile performs with Mannie Fresh and an all-star band at the NPR offices in a Tiny Desk Concert. \u003ccite>(Catie Dull/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither could we have imagined that at the age 45, Trina, Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BvsPwwphxrg\">Whoop-whoop, pull over, that ass is too fat\u003c/a>,” would be performing at the offices of National Public Radio. Nor \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ\">Mr. Back That Azz Up\u003c/a>, a.k.a. Juvenile (48), for that matter. But yes, both happened this year.\u003c/p>\n\u003cp>A half-century since hip-hop started and there are many reasons to rejoice, despite some of the unsavory news. As fans, we’re appreciative that the catalogs of Young Jeezy and De La Soul are now on streaming sites. And we’re equally appreciative that there’s new music from the likes of J.Cole, Lil Wayne and Nas, who at age 50, has dropped multiple award-winning albums in the past five years and had a resurrection unlike anyone else in the game—with the possible exception of Black Thought.\u003c/p>\n\u003cp>When Tariq Trotter isn’t rocking as a part of the house band for \u003cem>Late Night with Jimmy Fallon\u003c/em>, he’s writing off-Broadway plays and acting in films. But don’t think for a second he can’t spit a \u003ca href=\"https://www.youtube.com/watch?v=prmQgSpV3fA\">scorching freestyle\u003c/a>, too. He’s dropped verses on projects with younger rappers that show he hasn’t lost a step. And he’s put out a few highly acclaimed projects over the past couple years — arguably some of his best work — with music that speaks to middle-aged hip-hop heads.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During his interview with NPR, Black Thought talked about maturing, and that he feels more comfortable sharing more intimate details of his life. “As artists, there’s a dance, there’s a negotiation that takes place,” Trotter told Mosely. “But it’s the sort of thing that I was holding on to for the right moment — you know what I mean? For when it made the most sense. And that’s right now.”\u003c/p>\n\u003cp>And that right there is all the more reason to appreciate the aging process.\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>\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>Black Thought appears in discussion with Jelani Cobb on Saturday, Feb. 24, at the Sydney Goldstein Theatre in San Francisco as part of City Arts & Lectures. \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=13941\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939056/the-maturation-of-your-favorite-artists-and-a-look-back-at-hip-hop-50","authors":["11491"],"categories":["arts_1","arts_2303","arts_835","arts_69"],"tags":["arts_11374","arts_1998","arts_1601","arts_10278","arts_2284","arts_831","arts_1143","arts_21785","arts_3478","arts_4269","arts_3800"],"featImg":"arts_13329186","label":"arts"},"arts_13935052":{"type":"posts","id":"arts_13935052","meta":{"index":"posts_1591205157","site":"arts","id":"13935052","score":null,"sort":[1695290459000]},"guestAuthors":[],"slug":"hyphy-kids-got-trauma-pt-1-in-the-building","title":"Hyphy Kids Got Trauma Pt. 1, ‘In the Building’","publishDate":1695290459,"format":"audio","headTitle":"Hyphy Kids Got Trauma Pt. 1, ‘In the Building’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003cspan style=\"font-weight: 400\">\u003ci>View the full episode transcript.\u003c/i>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Welcome to \u003ca href=\"https://www.kqed.org/arts/13934874\">Hyphy Kids Got Trauma\u003c/a>, a four-part series about the Bay Area, hip-hop culture and the significance of the year 2006. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then I was a baby journalist, laying the foundation for my career path and getting ready for college. I was also trying to stay out of the way of the drama, while moving in and out of traffic with my patnas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We stayed out late, smoking, drinking and partying to no end. We found fun during hard times, and celebrated everyday as if it were our last– and honestly, it very well could’ve been.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In January of that year, an unfortunate chain of events in the neighborhood I hung out in led to a friend, Willie Clay, losing his life to gun violence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around that same time, a neighborhood rap star on the rise by the name of Beeda Weeda released two projects that I listened to as a reprieve from the stress of the world. And as his music helped me to cope, it did the same for Beeda, as he not only knew Will, he was one of the last people to see him alive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Beeda’s stock was rising, another shooting led to him relocating his studio, working with Tajai Massey of Souls of Mischief/ Hieroglyphics and opening a door to the Hiero building, a place that would allow a new generation of hip-hop artists from the community to make music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You hear about how the murder rate was so high, how that was like one of the worst years of Oakland,” says Beeda Weeda. “But, bruh, I had so much fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask anyone who was in the Bay Area and into hip-hop in 2006, I’m sure they’ll have a story for you. As Beeda Weeda told me, “‘06 was very special, bro.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13935062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dscf1186-800x533.jpg\" alt=\"A picnic table outside of the Manzanita Youth Center in East Oakland, inscribed with the names of people from the community who've passed. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picnic table outside of the Manzanita Youth Center in East Oakland, inscribed with the names of people from the community who’ve passed. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Heads up, this podcast contains explicit language. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In 2006, \u003c/span>\u003cspan style=\"font-weight: 400\">I was 18 going on 19, one year removed from high school. And\u003c/span>\u003cspan style=\"font-weight: 400\"> I had a front row seat to one of the most notable times in Bay Area hip-hop history– a period often referred to as “the hyphy movement”. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was an era of uptempo-bass-heavy music, oversized airbrushed white t-shirts, candy painted cars and big-ass sunglasses — stunna shades. There was exuberant dancing, extravagant slang, and goofy party antics. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The grand daddy was purple, the incredible hulk was green and the pills came in every color that Crayola has ever seen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While it’s easy to get all nostalgic about the music and partying as a time of celebration and bliss, I’m here to discuss how the culture was fueled by pain. That year a reported \u003c/span>\u003ca href=\"https://www.sfgate.com/bayarea/article/most-oakland-homicides-in-2006-were-shootings-2659579.php\">\u003cspan style=\"font-weight: 400\">148 people\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> were killed in Oakland. It’s the second highest annual homicide total the town has ever seen. And nationally it was much the same, as crime– specifically robberies in big cities– increased significantly from the year prior. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[ambient music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think about that, in addition to the folks who I knew who were lost to substance abuse, people who were sent to jail or prison, families who lost homes, careers that were ended, and lives that were forever changed. Yeah, there’s more to the story of “the hyphy movement” than just going stupid.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I should know, I was there. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[chatter of voices]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The date on my LG flip phone reads January 26, 2006. I’m staring at the digital screen, posted in the lobby of this fancy-ass hotel in downtown San Jose. Business casual attire means that I’m sporting the same button-up collared shirt, baggy khakis and Steve Madden shoes that I wear to funerals and club functions. But today, I’m at a journalism gala. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a baby reporter, 18 years-old. The beard hasn’t connected and the hairline hasn’t receded. Folks are all dressed fancy and eating tiny sandwiches. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">This is journalism? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I’m with my folks from New America Media’s Youth Outlook publication, a nonprofit that helps young writers get their foot into the journalism world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m in the right place to be, but still kind of nervous. So in the middle of all the lobby chatter, I’m tucked off, hiding behind my illuminated screen of my phone. No games on that joint, no social media or internet browser either. I’m just messing with the ringtones and reading old text messages. And then— \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[phone vibrates]\u003c/span>\u003c/i> \u003cspan style=\"font-weight: 400\">A new message from my patna Malcolm.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They killed Will.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a quick call for further clarification, I hang up and I throw \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[phone cracks] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">my phone, quarterback Hail Mary style– chuck that muthaf—a smooth across the room. The phone was ok. I broke.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[car door slams, engine rumbles as car drives off]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I leave the event in a drunken blur, and get a ride back to Oakland with some co-workers. Yeah, drunk at 18. But what does that mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean I’d been smoking and drinking since middle school– around the same time I met Willie Clay. We were classmates, and outside of school we kicked it at the Manzanita Center – a youth center on East 28th street in East Oakland, in a neighborhood we call the Dubs – or Murder Dubs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Will was part of a circle of folks who hung out there, played basketball, rode scooters. Y’all remember those Razor joints? He loved those and the motorized ones, too. We used to smoke, shoot dice, rap, crack jokes. He was a funny dude who loved the neighborhood. And last we talked, he had a baby on the way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life changed that day, for me, and a lot of folks in my circle. And that was just\u003c/span> \u003cspan style=\"font-weight: 400\">one day,\u003c/span> \u003cspan style=\"font-weight: 400\">in the midst of a year that would bring my friends and I some of the highest highs and the lowest lows, leaving magnificent memories and deep seated scars. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Car engine rumbles]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A few years ago, I was bending corners around town, when I saw a couple of words written in aerosol spray on a wall underneath an overpass: “Hyphy Kids Got Trauma.” Bingo. Say less.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the untold story. Our story. My story. There was a lot of pain and grief intertwined in that era. It was the catalyst for the exuberant lifestyle. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It made us party more aggressively, gig harder, roll fatter blunts, buy bigger bottles, stunt with all four car doors open with a RIP memorial pamphlet on the dashboard of the Buick. Ecstasy pills were popped like vitamins. And goofy glasses – they masked the weight of the reality we were facing. And somehow, that’s all the outside world saw—that goofy shit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So in this podcast, I’m going to bring you into the real meaning of the word “hyphy” and why we dance a little different. We’ll talk about where the media failed us and we’ll show you what grew out of the pain. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, and this is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hyphy Kids Got Trauma\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">On \u003c/span>\u003ca href=\"https://www.complex.com/music/a/david-drake/how-did-blow-the-whistle-become-hyphys-biggest-anthem\">\u003cspan style=\"font-weight: 400\">March 7th, 2006\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> legendary Oakland rapper Too $hort teamed up with super producer Lil Jon to drop the hit song, “Blow The Whistle.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Blow The Whistle by Too Short plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Stupid slap, a bass line that could awaken gargoyles, with energetic drums and a catchy hook, it was a union of Atlanta’s popular krunk sound with the Bay Area’s hyphy wave. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Tell Me When To Go by E-40 plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The very next week, on \u003c/span>\u003ca href=\"https://www.discogs.com/release/1629312-E-40-My-Ghetto-Report-Card\">\u003cspan style=\"font-weight: 400\">March 14, 2006\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> legendary Vallejo rapper E-40 dropped his album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. The lead single, “Tell Me When to Go,” was also produced by Lil Jon and featured fan favorite, East Oakland rapper Keak Da Sneak. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The drums sounded like two kangaroos kicking the trunk of your car—the hook, simple, catchy and cool. The beat was another uptempo marriage of krunk and hyphy, and it also made for a classic track. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those releases were just the tip of the iceberg in a year that brought about some of the most notable hip-hop and R&B songs from my region. On a given day, I’d ride shotgun in my friend’s scraper, blasting San Francisco rappers Messy Marv or San Quinn. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d pull up next to a Classic Chevy van, custom designed with flatscreens in the headrests, sound system knockin’ East Bay rappers The Jacka or Bavgate, E-A-Ski or Mistah FAB. We’d pull up to an event and the DJ would be spinning one of the mega hits by The Pack or Keyshia Cole. I’d dip out early, hop the BART turnstile and put my headphones on, listening to Zion-I or Goapele. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was a bunch of music to pull from. But for me, the track that kicked things off in 2006 was a song called “Turf’s Up” by an artist named Beeda Weeda.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Turfs Up by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beeda Weeda is a neighborhood star, a fly dresser, but not overly flashy, a dark-skinned brotha with deep waves who knows a little bit of everybody. He’s a rapper and a producer, as well as an owner of a clothing brand and a line of cannabis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2006, he had just released his first studio mixtape, called\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Homework,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and a subsequent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Turfology 101\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album’s lead single, “Turfs Up” got radio play and the video had a slew of cameos. The remix featured an all star line-up from that era, including Too Short and E-40.\u003c/span> \u003cspan style=\"font-weight: 400\">The song is an uptempo, braggadocious track—something to dance to, ride to, throw your neighborhood up to. For Beeda, he was simply putting his real life on wax.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> We was youngstas, we couldn’t get into the club and shit like that. So like, we would just get in the car, get alcohol, just ride through the East all day trying to knock bitches, you know what I’m saying? And just, the East was our playground. We turned it to like a club on wheels, you know what I’m saying? So that’s basically what the song was just about. I was just talking about the shit that we be doing out here. And, you know, the shit just like, took off, bro. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The album also featured a few songs that spoke to trends of the time, like rippa slippas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Rippa Slippas by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> You remember the rippa slippas? That was the shoes that all the little females would get from the uh, beauty supply shit, the Chinese slippers, you know, I’m saying. So it was just like everything that literally was going on in the culture, I was just explaining shit, just you know, letting people know how we was getting down out here. You know what I mean?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beeda was painting pictures of how folks were living, from partying to pimpin’, and even the more militant mindset. On his \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Homework\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> mixtape Beeda Weeda dropped this one song that spoke directly to that radical ideology that so many young folks have here in the Bay. The track was simply called “We Ain’t Listening.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[We Ain’t Listening by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> That was just the energy of Oakland. Like we was the young niggas. That’s what… what our whole mentality was. We weren’t listening to shit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A mixture of revolutionary spirit, cool player shit and mob mentality, the track exemplifies a lot of the elements that were going on at the time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was just expressing, you know, what we were going through and just giving the world a light on what we got going on. Because I always felt like Oakland was different. We was different, you know what I’m saying? I knew it was something different about us. You feel me? And I kind of just wanted to share that with the world, you know what I’m saying?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He’s right, Oakland \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">was\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> different. It was an epicenter of culture, caught in an upwind of creativity. And in 2006, at the same time, there were plenty of reasons for young folks in the Town to ignore every single word from authority figures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland had long been under-resourced and over-policed. Families were facing predatory housing loans and rising rents. After decades of constant growth, the 2000 Census marked the last time the Black population in Oakland increased. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I had homies move to Antioch, Las Vegas and Texas. I started seeing more white folks jogging through the hood. It was the onset of gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mayor Jerry Brown was focused on redeveloping downtown, adding thousands of new residents and cracking down on sideshows– the illegal car shows native to the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[car engine rumbles and wheels screech]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I watched as downtown changed and new people came. Things shifted, but the sideshows remained. The police department, then entering the third year of a mandatory federal oversight, had its own issues. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I saw conflicts of all types: people in my family struggling financially, and people close to me going to fight in the War on Terror overseas. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[police sirens]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And personally, for me, the biggest conflict was the community violence– that left the deepest wounds. Just weeks after my friend Will was killed, Beeda Weeda released his first project and his music helped me get through that hard time—hard for me, and arguably harder for Beeda, as he not only knew Will, he was one of the last people to see him alive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, you know, I always say bro, what’s crazy is bro… I was supposed to be dead, bro.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That day, Beeda Weeda and a crew of folks were coming back from a performance at a party in Chico, a small town about three and a half hours north of Oakland. Rich in agriculture and full of nature, it’s a college town that sits at the northern end of the Sacramento Valley, a drastic difference from Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> So we slide out there. We had hella fun, did hella promoting. And I’ll never forget how it was, like because it was hella of us from the hood that went out there… just how much fun we had, bro. We didn’t have to look over our shoulders, uh, none of that shit. You know what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But Beeda says that after they left and made their way back to Oakland, that energy shifted. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">Bro, it was just like a dark ass cloud. It just got dark. And then I never forget like my um my big bro, he was in the front. He’s like, “alright, we back in the shit. You know, y’all keep ya’ll, put your head on a swivel. You know what I’m saying? Ya’ll know what time it is, you feel me?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The crew pulled back into Oakland and Beeda kicked up at a spot in the Dubs. He gave a friend a haircut, and then he realized it was getting late and he didn’t have his car, so he called another friend to give him a ride across town to his lady’s crib.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my homie come pick me up. Boom, he come pick me up, take me to the West. I’m hella tired cause we were just doing hella shit, I had been up all night from being in Chico and shit, instantly pass out, right? My phone die. You feel me? So my phone go off. You know what I’m saying? I wake up in the morning, I turn my phone on. Soon as I turn my phone on my shit ringing, you feel me? [phone vibrates]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I answer it. You feel me? Like, “nigga where you at? Whoop, whoop, whoop”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m like, “Bro, I’m good.” And I just remember the nigga was like, “everybody dead”. I’m like, “huh, everybody dead?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A short period after Beeda left the neighborhood, someone came to a main intersection and started spraying bullets. Five people were hit in total. Will and another brother by the name of J-Black died. Before the shooting happened, and before Beeda left the ‘hood, he saw Will on the block.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I’ll never forget the look on Willie’s face when I drove… like, I just looked at him. You feel me? Like I never forget that shit, you know what I’m saying? He was just standing on the corner. I don’t know, I just looked at him, you know what I’m saying, we looked at each other. I don’t know, it was weird bro. But I’ll never forget that shit. And you know, I just be trippin’ off that shit. Like you feel me? Like I coulda been– if I would’ve been up there a little bit longer, ain’t no tellin’… you know what I’m sayin’? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">As all of this was happening, Beeda’s music was blowing up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind the scenes he was working with Tajai of the legendary Souls of Mischief hip-hop group. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re a branch of the Almighty Hieroglyphics crew– the folks who brought you the song ‘93 Til Infinity and one of the most well-known logos in hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tajai is a slim brown-skinned brother from East Oakland, who can get loud when it’s time. And, most times, he has a calm aura that makes sense once you learn that he’s trained in martial arts and is a full-time architectural designer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2006, he had been in the rap game for over a decade, and was looking to put other artists on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beeda Weeda’s music — specifically the song, “We Ain’t Listening” — caught Tajai’s ear. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey, guest:\u003c/b> \u003cspan style=\"font-weight: 400\">It just sounded scary, like, man, oh, wow. This is… this sounds like um like, if you listen to this song, it sounds very tribal, like, hey, hey. It’s just like um when you think about rap music and you think about the stereotypes about it, it’s scary Negro music from the inner city, that song exemplified that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tajai says that fear factor was a driving force that made the song powerful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, like obviously it was music, but it was scary. And that’s, I think, what I liked about it. You know, I’m saying I felt like a suburban kid, almost like, “what is this? Oooooooh! This is what those Negroes are talking about in the… in the inner city.”\u003c/span> \u003cspan style=\"font-weight: 400\">You know what I mean though? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You say scary, but you say it with a smile on your face. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah, I mean because I’m, I’m Black and I’m from the inner city like, so I know it’s just young niggas letting off steam musically. You feel what I’m saying though? But that’s really what Hip Hop is in general, rapping, like we just rapping, you know what I’m saying? So to me, it exemplified the same… the same feeling that maybe, you know, Raising Hell or Rock Box or something, “dun, nuh-nuh-nuh,” you know, or uh it’s “like a jungle sometimes.” Like, it exemplified that spirit of there’s a whole other world out here that you are not being exposed to, and we’re going to make it sound beautiful over music\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A few weeks after the release of Beeda’s first project, there was another shooting in the Dubs. Bullet holes rattled Beeda’s custom designed van. No one was injured, but the shooting left holes in the image of Beeda’s album cover that wrapped the vehicle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The incident pushed Beeda, Tajai, and Beeda’s manager, J.Moe, to put a plan into play.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tajai and the Hieroglyphics crew own a building in East Oakland, a few miles from the Dubs. Tajai invited Beeda to start using that space as his homebase, and once Beeda had a foot in the door, he started bringing in other artists from the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">Once Tajai started seeing the talent, he coulda been on some like ‘nah Beeda you doing too much,’ you feel me, ‘like, just you.’ He opened up the whole motherf—-n’ downstairs for us and was like f— it, ya’ll can have this shit down here, you know what I’m saying? And, like, that whole situation, like, basically sparked a lot of careers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tajai saw the Hiero building as more than just a recording studio for the East Bay’s emerging talent. It was almost like an anti-violence initiative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean, literally, this place was so active that crime went down in the Dubs. You feel what I’m saying though, because all the criminals was here recording records, you know what I’m saying though? Like forreal though, you know what I’m saying though? I mean you know, all the factors was in here making music you know what I’m saying though?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The roster of folks who came through those doors and made music and or contributed to the culture included Philthy Rich and DJ Fresh, Moses Music, Big Hongry, and J. Stalin. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shady Nate, Tower, and the late Zoe Tha Roasta. It’s where a few years later D-LO would record and film the video for his anthem, “No Hoe.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s where I would eventually work with Jamon Dru and Young Gully to record the Grant Station Project, dedicated to Oscar Grant. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was these artists who’d contribute to Bay Area hip-hop for the next decade-plus, making hyphy songs as well as mobb music, underground hits, selling thousands of records and rocking shows across the country. These were dudes from the neighborhood, making music to express pain, celebrate life and document culture. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But nationally, that wasn’t the narrative. The way the Bay Area culture was being depicted wasn’t exactly what was really happening on the streets. Yes, there were some goofy dances and some funny fashion. But man, it was so much deeper than just going dumb on top of cars. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask Tajai, that rebellious hyperactive energy is really in our DNA. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Mean mugging and all that kind of stuff and you know what I’m saying shaking your dreads and all that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To me it was a very African vibe, you know, I’m saying though? Dancing hard, you know what I’m saying though? Very, very within the lineage of the diaspora, like you know what I’m saying though?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I could see that. I could see that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Kind of like how breakdancing is or popping or all that kind of stuff, right?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey:\u003c/b>\u003cspan style=\"font-weight: 400\"> So to me it was more tribal like and this how our, these are tribal dances that we do out here in the Bay where we are the hyphy tribe.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the people of that “hyphy tribe,” we were at war, fighting against club security and local police, fighting against East Coast hip-hop biases, and corporate run-radio stations and culture vultures, fighting against other community members, and sometimes even fighting against ourselves.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re talking about a generation of kids who were born into the crack-cocaine induced era of the War on Drugs, and raised by people who saw Civil Rights leaders slain. There were already issues here, as Tajai reminds us:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">The trauma pre-existed the hyphy movement, and I think the hyphy movement helped to free up and help people to unpack or at least evade a little bit of the trauma.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We didn’t know it at the time, but that “unpacking” of generational trauma, was unfettered joy while dancing off a pill at a gas station, or driving on the wrong side of the road while listening to your favorite song at a high volume. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, it was smoking and drinking as if everyday were the weekend. It was pills and syrup. It was parties. It was riding around with my patnas, hanging out of the sunroof of this plum colored Sebring that I got from an auction–having fun, despite all of the danger and despair. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we were numbing ourselves to get through the trauma. Maybe the hyphy movement kept us alive. Whatever the case, the dichotomy of that era, specifically the year 2006, left a mark that I can never erase. And I’m not the only one, just ask Beeda.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear about how the murder rate was so high, how that was like one of the worst years of Oakland but, bruh, I had so much fun. Like, like it didn’t seem like that, you know what I’m saying? It didn’t seem like I was around all that. You know what I mean? It just seemed like a lot of love. Like, yeah, we had our ups and downs, we was broke you know what I’m saying? But we didn’t care. We all took care of each other. ‘06 was very special, bro. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Maybe it was that contrast that created the fun, how life and death happened all at once. It made it memorable for us. And unfortunately, only a portion of the story was told, until now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the next episode, we go deeper into community and culture, the year ‘06, and why we dance a little different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bay: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re not Hyphy dancers. Hyphy was kind of like the energy, the… the spirit, the movement. But, you know , turfing is how we was able to separate ourselves from the energy, you know, we was turf dancing. We wasn’t hyphy dancing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound designed and mixed by Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric Arnold, Jen Chien, Holly Kernan, Victoria Mauleon, Marisol Medina-Cadena, Gabe Meline, Xorje Olivares, Delency Parham, Cesar Saldaña, Sayre Quevedo, Katie Sprenger, Nastia Voynovskaya, and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003ca href=\"https://www.kqed.org/bayareahiphop\">BayAreaHipHop.Com\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP Will, J-Black and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A four-part series about the Bay Area, hip-hop culture and the significance of the year 2006.\r\n","status":"publish","parent":0,"modified":1705003341,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":141,"wordCount":4968},"headData":{"title":"Hyphy Kids Got Trauma Pt. 1, ‘In the Building’ | KQED","description":"In part one of Hyphy Kids Got Trauma, we land in Oakland and meet host Pendarvis Harshaw, a budding journalist at 18 years old. We see the highs and lows, the songs and scars, of the year 2006 through his eyes, and meet a few of the artists behind the music in San Francisco Bay Area hip-hop culture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"In part one of Hyphy Kids Got Trauma, we land in Oakland and meet host Pendarvis Harshaw, a budding journalist at 18 years old. We see the highs and lows, the songs and scars, of the year 2006 through his eyes, and meet a few of the artists behind the music in San Francisco Bay Area hip-hop culture.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hyphy Kids Got Trauma Pt. 1, ‘In the Building’","datePublished":"2023-09-21T10:00:59.000Z","dateModified":"2024-01-11T20:02:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC3485225341.mp3?updated=1695249942","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935052/hyphy-kids-got-trauma-pt-1-in-the-building","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cspan style=\"font-weight: 400\">\u003ci>View the full episode transcript.\u003c/i>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Welcome to \u003ca href=\"https://www.kqed.org/arts/13934874\">Hyphy Kids Got Trauma\u003c/a>, a four-part series about the Bay Area, hip-hop culture and the significance of the year 2006. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then I was a baby journalist, laying the foundation for my career path and getting ready for college. I was also trying to stay out of the way of the drama, while moving in and out of traffic with my patnas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We stayed out late, smoking, drinking and partying to no end. We found fun during hard times, and celebrated everyday as if it were our last– and honestly, it very well could’ve been.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In January of that year, an unfortunate chain of events in the neighborhood I hung out in led to a friend, Willie Clay, losing his life to gun violence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around that same time, a neighborhood rap star on the rise by the name of Beeda Weeda released two projects that I listened to as a reprieve from the stress of the world. And as his music helped me to cope, it did the same for Beeda, as he not only knew Will, he was one of the last people to see him alive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Beeda’s stock was rising, another shooting led to him relocating his studio, working with Tajai Massey of Souls of Mischief/ Hieroglyphics and opening a door to the Hiero building, a place that would allow a new generation of hip-hop artists from the community to make music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You hear about how the murder rate was so high, how that was like one of the worst years of Oakland,” says Beeda Weeda. “But, bruh, I had so much fun.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask anyone who was in the Bay Area and into hip-hop in 2006, I’m sure they’ll have a story for you. As Beeda Weeda told me, “‘06 was very special, bro.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13935062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dscf1186-800x533.jpg\" alt=\"A picnic table outside of the Manzanita Youth Center in East Oakland, inscribed with the names of people from the community who've passed. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dscf1186-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picnic table outside of the Manzanita Youth Center in East Oakland, inscribed with the names of people from the community who’ve passed. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Heads up, this podcast contains explicit language. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In 2006, \u003c/span>\u003cspan style=\"font-weight: 400\">I was 18 going on 19, one year removed from high school. And\u003c/span>\u003cspan style=\"font-weight: 400\"> I had a front row seat to one of the most notable times in Bay Area hip-hop history– a period often referred to as “the hyphy movement”. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was an era of uptempo-bass-heavy music, oversized airbrushed white t-shirts, candy painted cars and big-ass sunglasses — stunna shades. There was exuberant dancing, extravagant slang, and goofy party antics. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The grand daddy was purple, the incredible hulk was green and the pills came in every color that Crayola has ever seen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While it’s easy to get all nostalgic about the music and partying as a time of celebration and bliss, I’m here to discuss how the culture was fueled by pain. That year a reported \u003c/span>\u003ca href=\"https://www.sfgate.com/bayarea/article/most-oakland-homicides-in-2006-were-shootings-2659579.php\">\u003cspan style=\"font-weight: 400\">148 people\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> were killed in Oakland. It’s the second highest annual homicide total the town has ever seen. And nationally it was much the same, as crime– specifically robberies in big cities– increased significantly from the year prior. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[ambient music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think about that, in addition to the folks who I knew who were lost to substance abuse, people who were sent to jail or prison, families who lost homes, careers that were ended, and lives that were forever changed. Yeah, there’s more to the story of “the hyphy movement” than just going stupid.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I should know, I was there. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[chatter of voices]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The date on my LG flip phone reads January 26, 2006. I’m staring at the digital screen, posted in the lobby of this fancy-ass hotel in downtown San Jose. Business casual attire means that I’m sporting the same button-up collared shirt, baggy khakis and Steve Madden shoes that I wear to funerals and club functions. But today, I’m at a journalism gala. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a baby reporter, 18 years-old. The beard hasn’t connected and the hairline hasn’t receded. Folks are all dressed fancy and eating tiny sandwiches. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">This is journalism? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I’m with my folks from New America Media’s Youth Outlook publication, a nonprofit that helps young writers get their foot into the journalism world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m in the right place to be, but still kind of nervous. So in the middle of all the lobby chatter, I’m tucked off, hiding behind my illuminated screen of my phone. No games on that joint, no social media or internet browser either. I’m just messing with the ringtones and reading old text messages. And then— \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[phone vibrates]\u003c/span>\u003c/i> \u003cspan style=\"font-weight: 400\">A new message from my patna Malcolm.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They killed Will.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a quick call for further clarification, I hang up and I throw \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[phone cracks] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">my phone, quarterback Hail Mary style– chuck that muthaf—a smooth across the room. The phone was ok. I broke.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[car door slams, engine rumbles as car drives off]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I leave the event in a drunken blur, and get a ride back to Oakland with some co-workers. Yeah, drunk at 18. But what does that mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean I’d been smoking and drinking since middle school– around the same time I met Willie Clay. We were classmates, and outside of school we kicked it at the Manzanita Center – a youth center on East 28th street in East Oakland, in a neighborhood we call the Dubs – or Murder Dubs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Will was part of a circle of folks who hung out there, played basketball, rode scooters. Y’all remember those Razor joints? He loved those and the motorized ones, too. We used to smoke, shoot dice, rap, crack jokes. He was a funny dude who loved the neighborhood. And last we talked, he had a baby on the way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life changed that day, for me, and a lot of folks in my circle. And that was just\u003c/span> \u003cspan style=\"font-weight: 400\">one day,\u003c/span> \u003cspan style=\"font-weight: 400\">in the midst of a year that would bring my friends and I some of the highest highs and the lowest lows, leaving magnificent memories and deep seated scars. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Car engine rumbles]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A few years ago, I was bending corners around town, when I saw a couple of words written in aerosol spray on a wall underneath an overpass: “Hyphy Kids Got Trauma.” Bingo. Say less.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the untold story. Our story. My story. There was a lot of pain and grief intertwined in that era. It was the catalyst for the exuberant lifestyle. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It made us party more aggressively, gig harder, roll fatter blunts, buy bigger bottles, stunt with all four car doors open with a RIP memorial pamphlet on the dashboard of the Buick. Ecstasy pills were popped like vitamins. And goofy glasses – they masked the weight of the reality we were facing. And somehow, that’s all the outside world saw—that goofy shit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So in this podcast, I’m going to bring you into the real meaning of the word “hyphy” and why we dance a little different. We’ll talk about where the media failed us and we’ll show you what grew out of the pain. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, and this is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hyphy Kids Got Trauma\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">On \u003c/span>\u003ca href=\"https://www.complex.com/music/a/david-drake/how-did-blow-the-whistle-become-hyphys-biggest-anthem\">\u003cspan style=\"font-weight: 400\">March 7th, 2006\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> legendary Oakland rapper Too $hort teamed up with super producer Lil Jon to drop the hit song, “Blow The Whistle.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Blow The Whistle by Too Short plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Stupid slap, a bass line that could awaken gargoyles, with energetic drums and a catchy hook, it was a union of Atlanta’s popular krunk sound with the Bay Area’s hyphy wave. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Tell Me When To Go by E-40 plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The very next week, on \u003c/span>\u003ca href=\"https://www.discogs.com/release/1629312-E-40-My-Ghetto-Report-Card\">\u003cspan style=\"font-weight: 400\">March 14, 2006\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> legendary Vallejo rapper E-40 dropped his album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. The lead single, “Tell Me When to Go,” was also produced by Lil Jon and featured fan favorite, East Oakland rapper Keak Da Sneak. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The drums sounded like two kangaroos kicking the trunk of your car—the hook, simple, catchy and cool. The beat was another uptempo marriage of krunk and hyphy, and it also made for a classic track. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those releases were just the tip of the iceberg in a year that brought about some of the most notable hip-hop and R&B songs from my region. On a given day, I’d ride shotgun in my friend’s scraper, blasting San Francisco rappers Messy Marv or San Quinn. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d pull up next to a Classic Chevy van, custom designed with flatscreens in the headrests, sound system knockin’ East Bay rappers The Jacka or Bavgate, E-A-Ski or Mistah FAB. We’d pull up to an event and the DJ would be spinning one of the mega hits by The Pack or Keyshia Cole. I’d dip out early, hop the BART turnstile and put my headphones on, listening to Zion-I or Goapele. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was a bunch of music to pull from. But for me, the track that kicked things off in 2006 was a song called “Turf’s Up” by an artist named Beeda Weeda.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Turfs Up by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beeda Weeda is a neighborhood star, a fly dresser, but not overly flashy, a dark-skinned brotha with deep waves who knows a little bit of everybody. He’s a rapper and a producer, as well as an owner of a clothing brand and a line of cannabis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2006, he had just released his first studio mixtape, called\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Homework,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and a subsequent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Turfology 101\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album’s lead single, “Turfs Up” got radio play and the video had a slew of cameos. The remix featured an all star line-up from that era, including Too Short and E-40.\u003c/span> \u003cspan style=\"font-weight: 400\">The song is an uptempo, braggadocious track—something to dance to, ride to, throw your neighborhood up to. For Beeda, he was simply putting his real life on wax.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> We was youngstas, we couldn’t get into the club and shit like that. So like, we would just get in the car, get alcohol, just ride through the East all day trying to knock bitches, you know what I’m saying? And just, the East was our playground. We turned it to like a club on wheels, you know what I’m saying? So that’s basically what the song was just about. I was just talking about the shit that we be doing out here. And, you know, the shit just like, took off, bro. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The album also featured a few songs that spoke to trends of the time, like rippa slippas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Rippa Slippas by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> You remember the rippa slippas? That was the shoes that all the little females would get from the uh, beauty supply shit, the Chinese slippers, you know, I’m saying. So it was just like everything that literally was going on in the culture, I was just explaining shit, just you know, letting people know how we was getting down out here. You know what I mean?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beeda was painting pictures of how folks were living, from partying to pimpin’, and even the more militant mindset. On his \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Homework\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> mixtape Beeda Weeda dropped this one song that spoke directly to that radical ideology that so many young folks have here in the Bay. The track was simply called “We Ain’t Listening.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[We Ain’t Listening by Beeda Weeda plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> That was just the energy of Oakland. Like we was the young niggas. That’s what… what our whole mentality was. We weren’t listening to shit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A mixture of revolutionary spirit, cool player shit and mob mentality, the track exemplifies a lot of the elements that were going on at the time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was just expressing, you know, what we were going through and just giving the world a light on what we got going on. Because I always felt like Oakland was different. We was different, you know what I’m saying? I knew it was something different about us. You feel me? And I kind of just wanted to share that with the world, you know what I’m saying?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He’s right, Oakland \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">was\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> different. It was an epicenter of culture, caught in an upwind of creativity. And in 2006, at the same time, there were plenty of reasons for young folks in the Town to ignore every single word from authority figures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland had long been under-resourced and over-policed. Families were facing predatory housing loans and rising rents. After decades of constant growth, the 2000 Census marked the last time the Black population in Oakland increased. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I had homies move to Antioch, Las Vegas and Texas. I started seeing more white folks jogging through the hood. It was the onset of gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mayor Jerry Brown was focused on redeveloping downtown, adding thousands of new residents and cracking down on sideshows– the illegal car shows native to the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[car engine rumbles and wheels screech]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I watched as downtown changed and new people came. Things shifted, but the sideshows remained. The police department, then entering the third year of a mandatory federal oversight, had its own issues. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I saw conflicts of all types: people in my family struggling financially, and people close to me going to fight in the War on Terror overseas. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[police sirens]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And personally, for me, the biggest conflict was the community violence– that left the deepest wounds. Just weeks after my friend Will was killed, Beeda Weeda released his first project and his music helped me get through that hard time—hard for me, and arguably harder for Beeda, as he not only knew Will, he was one of the last people to see him alive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, you know, I always say bro, what’s crazy is bro… I was supposed to be dead, bro.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That day, Beeda Weeda and a crew of folks were coming back from a performance at a party in Chico, a small town about three and a half hours north of Oakland. Rich in agriculture and full of nature, it’s a college town that sits at the northern end of the Sacramento Valley, a drastic difference from Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> So we slide out there. We had hella fun, did hella promoting. And I’ll never forget how it was, like because it was hella of us from the hood that went out there… just how much fun we had, bro. We didn’t have to look over our shoulders, uh, none of that shit. You know what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But Beeda says that after they left and made their way back to Oakland, that energy shifted. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">Bro, it was just like a dark ass cloud. It just got dark. And then I never forget like my um my big bro, he was in the front. He’s like, “alright, we back in the shit. You know, y’all keep ya’ll, put your head on a swivel. You know what I’m saying? Ya’ll know what time it is, you feel me?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The crew pulled back into Oakland and Beeda kicked up at a spot in the Dubs. He gave a friend a haircut, and then he realized it was getting late and he didn’t have his car, so he called another friend to give him a ride across town to his lady’s crib.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my homie come pick me up. Boom, he come pick me up, take me to the West. I’m hella tired cause we were just doing hella shit, I had been up all night from being in Chico and shit, instantly pass out, right? My phone die. You feel me? So my phone go off. You know what I’m saying? I wake up in the morning, I turn my phone on. Soon as I turn my phone on my shit ringing, you feel me? [phone vibrates]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I answer it. You feel me? Like, “nigga where you at? Whoop, whoop, whoop”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m like, “Bro, I’m good.” And I just remember the nigga was like, “everybody dead”. I’m like, “huh, everybody dead?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A short period after Beeda left the neighborhood, someone came to a main intersection and started spraying bullets. Five people were hit in total. Will and another brother by the name of J-Black died. Before the shooting happened, and before Beeda left the ‘hood, he saw Will on the block.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I’ll never forget the look on Willie’s face when I drove… like, I just looked at him. You feel me? Like I never forget that shit, you know what I’m saying? He was just standing on the corner. I don’t know, I just looked at him, you know what I’m saying, we looked at each other. I don’t know, it was weird bro. But I’ll never forget that shit. And you know, I just be trippin’ off that shit. Like you feel me? Like I coulda been– if I would’ve been up there a little bit longer, ain’t no tellin’… you know what I’m sayin’? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">As all of this was happening, Beeda’s music was blowing up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind the scenes he was working with Tajai of the legendary Souls of Mischief hip-hop group. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re a branch of the Almighty Hieroglyphics crew– the folks who brought you the song ‘93 Til Infinity and one of the most well-known logos in hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tajai is a slim brown-skinned brother from East Oakland, who can get loud when it’s time. And, most times, he has a calm aura that makes sense once you learn that he’s trained in martial arts and is a full-time architectural designer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2006, he had been in the rap game for over a decade, and was looking to put other artists on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beeda Weeda’s music — specifically the song, “We Ain’t Listening” — caught Tajai’s ear. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey, guest:\u003c/b> \u003cspan style=\"font-weight: 400\">It just sounded scary, like, man, oh, wow. This is… this sounds like um like, if you listen to this song, it sounds very tribal, like, hey, hey. It’s just like um when you think about rap music and you think about the stereotypes about it, it’s scary Negro music from the inner city, that song exemplified that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tajai says that fear factor was a driving force that made the song powerful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, like obviously it was music, but it was scary. And that’s, I think, what I liked about it. You know, I’m saying I felt like a suburban kid, almost like, “what is this? Oooooooh! This is what those Negroes are talking about in the… in the inner city.”\u003c/span> \u003cspan style=\"font-weight: 400\">You know what I mean though? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You say scary, but you say it with a smile on your face. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah, I mean because I’m, I’m Black and I’m from the inner city like, so I know it’s just young niggas letting off steam musically. You feel what I’m saying though? But that’s really what Hip Hop is in general, rapping, like we just rapping, you know what I’m saying? So to me, it exemplified the same… the same feeling that maybe, you know, Raising Hell or Rock Box or something, “dun, nuh-nuh-nuh,” you know, or uh it’s “like a jungle sometimes.” Like, it exemplified that spirit of there’s a whole other world out here that you are not being exposed to, and we’re going to make it sound beautiful over music\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A few weeks after the release of Beeda’s first project, there was another shooting in the Dubs. Bullet holes rattled Beeda’s custom designed van. No one was injured, but the shooting left holes in the image of Beeda’s album cover that wrapped the vehicle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The incident pushed Beeda, Tajai, and Beeda’s manager, J.Moe, to put a plan into play.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tajai and the Hieroglyphics crew own a building in East Oakland, a few miles from the Dubs. Tajai invited Beeda to start using that space as his homebase, and once Beeda had a foot in the door, he started bringing in other artists from the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">Once Tajai started seeing the talent, he coulda been on some like ‘nah Beeda you doing too much,’ you feel me, ‘like, just you.’ He opened up the whole motherf—-n’ downstairs for us and was like f— it, ya’ll can have this shit down here, you know what I’m saying? And, like, that whole situation, like, basically sparked a lot of careers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tajai saw the Hiero building as more than just a recording studio for the East Bay’s emerging talent. It was almost like an anti-violence initiative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean, literally, this place was so active that crime went down in the Dubs. You feel what I’m saying though, because all the criminals was here recording records, you know what I’m saying though? Like forreal though, you know what I’m saying though? I mean you know, all the factors was in here making music you know what I’m saying though?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The roster of folks who came through those doors and made music and or contributed to the culture included Philthy Rich and DJ Fresh, Moses Music, Big Hongry, and J. Stalin. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shady Nate, Tower, and the late Zoe Tha Roasta. It’s where a few years later D-LO would record and film the video for his anthem, “No Hoe.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s where I would eventually work with Jamon Dru and Young Gully to record the Grant Station Project, dedicated to Oscar Grant. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was these artists who’d contribute to Bay Area hip-hop for the next decade-plus, making hyphy songs as well as mobb music, underground hits, selling thousands of records and rocking shows across the country. These were dudes from the neighborhood, making music to express pain, celebrate life and document culture. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But nationally, that wasn’t the narrative. The way the Bay Area culture was being depicted wasn’t exactly what was really happening on the streets. Yes, there were some goofy dances and some funny fashion. But man, it was so much deeper than just going dumb on top of cars. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask Tajai, that rebellious hyperactive energy is really in our DNA. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Mean mugging and all that kind of stuff and you know what I’m saying shaking your dreads and all that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To me it was a very African vibe, you know, I’m saying though? Dancing hard, you know what I’m saying though? Very, very within the lineage of the diaspora, like you know what I’m saying though?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I could see that. I could see that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">Kind of like how breakdancing is or popping or all that kind of stuff, right?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey:\u003c/b>\u003cspan style=\"font-weight: 400\"> So to me it was more tribal like and this how our, these are tribal dances that we do out here in the Bay where we are the hyphy tribe.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the people of that “hyphy tribe,” we were at war, fighting against club security and local police, fighting against East Coast hip-hop biases, and corporate run-radio stations and culture vultures, fighting against other community members, and sometimes even fighting against ourselves.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re talking about a generation of kids who were born into the crack-cocaine induced era of the War on Drugs, and raised by people who saw Civil Rights leaders slain. There were already issues here, as Tajai reminds us:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tajai Massey: \u003c/b>\u003cspan style=\"font-weight: 400\">The trauma pre-existed the hyphy movement, and I think the hyphy movement helped to free up and help people to unpack or at least evade a little bit of the trauma.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We didn’t know it at the time, but that “unpacking” of generational trauma, was unfettered joy while dancing off a pill at a gas station, or driving on the wrong side of the road while listening to your favorite song at a high volume. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, it was smoking and drinking as if everyday were the weekend. It was pills and syrup. It was parties. It was riding around with my patnas, hanging out of the sunroof of this plum colored Sebring that I got from an auction–having fun, despite all of the danger and despair. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we were numbing ourselves to get through the trauma. Maybe the hyphy movement kept us alive. Whatever the case, the dichotomy of that era, specifically the year 2006, left a mark that I can never erase. And I’m not the only one, just ask Beeda.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Beeda Weeda: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear about how the murder rate was so high, how that was like one of the worst years of Oakland but, bruh, I had so much fun. Like, like it didn’t seem like that, you know what I’m saying? It didn’t seem like I was around all that. You know what I mean? It just seemed like a lot of love. Like, yeah, we had our ups and downs, we was broke you know what I’m saying? But we didn’t care. We all took care of each other. ‘06 was very special, bro. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Maybe it was that contrast that created the fun, how life and death happened all at once. It made it memorable for us. And unfortunately, only a portion of the story was told, until now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the next episode, we go deeper into community and culture, the year ‘06, and why we dance a little different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bay: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re not Hyphy dancers. Hyphy was kind of like the energy, the… the spirit, the movement. But, you know , turfing is how we was able to separate ourselves from the energy, you know, we was turf dancing. We wasn’t hyphy dancing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound designed and mixed by Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric Arnold, Jen Chien, Holly Kernan, Victoria Mauleon, Marisol Medina-Cadena, Gabe Meline, Xorje Olivares, Delency Parham, Cesar Saldaña, Sayre Quevedo, Katie Sprenger, Nastia Voynovskaya, and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003ca href=\"https://www.kqed.org/bayareahiphop\">BayAreaHipHop.Com\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP Will, J-Black and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935052/hyphy-kids-got-trauma-pt-1-in-the-building","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_13815","arts_2284","arts_6975","arts_21568","arts_1143","arts_6764","arts_15379","arts_19347"],"featImg":"arts_13935514","label":"arts_8720"},"arts_13934676":{"type":"posts","id":"arts_13934676","meta":{"index":"posts_1591205157","site":"arts","id":"13934676","score":null,"sort":[1694563219000]},"guestAuthors":[],"slug":"souls-of-mischief-mural-oakland","title":"Let ’Em Know: Oakland’s New Souls of Mischief Mural","publishDate":1694563219,"format":"standard","headTitle":"Let ’Em Know: Oakland’s New Souls of Mischief Mural | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you’ve been near lower High Street in Oakland over the past few weeks, you may have noticed something beautiful taking shape: a large, colorful mural featuring Oakland’s Souls of Mischief. \u003c/p>\n\u003cp>The mural, which covers the building for High Street Studios, spans parts of two city blocks and features portraits of all four members of the East Oakland hip-hop group. On the High Street side, Opio appears in a setting dotted with sunstars, flowers, and birds against a multi-hued sky. Next to him, Tajai gazes out at viewers amidst a backdrop of urban buildings, geometrical shapes, and the Hiero sigil imposed over a sunset cityscape\u003c/p>\n\u003cp>[aside postID='arts_13934324']On the Watting Street side, Phesto Dee taps the side of his head with one hand while the other points outward, his figure partially obscuring what looks like an African mask with a speaker cone for an eye. Nearby is A-Plus, arms outstretched in a welcoming gesture in front of flowers and abstract disks. The combination of these images suggests a spiritual aspect of hip-hop you never knew existed.\u003c/p>\n\u003cp>The vibrant painting, created by artists based out of High Street Studios, is nestled in a working-class, industrial part of the Fruitvale District. It’s a neighborhood whose environmental landscape has historically been defined by nondescript buildings: auto parts stores, an OUSD facility and a lumber company coexist with numerous warehouses and live-work spaces.\u003c/p>\n\u003cfigure id=\"attachment_13934665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00005.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the Souls of Mischief mural at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, the mural nods to a lesser-known element of the neighborhood’s history. Quiet as it’s kept, lower High Street has long been home to a vibrant artist community working out of those warehouses, and the area has made notable contributions to local hip-hop. In the mid-’90s, the warehouse at 4001 San Leandro was occupied by the Mystik Journeymen during a formative time in their development. The DIY hip-hop duo became known for throwing “Top Ramen” parties at the spot, where the cover charge was $5 or a package of the starchy instant noodle soup. When the crew expanded to become the Living Legends in 1996, emcees Eligh, the Grouch and Murs all moved into the space, where they lived in makeshift partitioned “rooms” and recorded some of their earliest works as a collective. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Faultline is among the currently active artist spaces in the area; others include the embattled Vulcan Lofts (whose residents have been fighting to maintain rent control and prevent displacement of 200 artists since 2019) and Oscillation Studios.\u003c/p>\n\u003cp>[aside postID='arts_13933590']David Burke, co-lead artist for the Souls of Mischief mural, is headquartered at High Street Studios, along with co-lead artist Pancho Peskador. The two are public art veterans; Burke served as art director for Art Esteem’s Oakland Superheroes Mural Project, while Peskador was co-lead artist on the Alice Street mural that became the subject of an award-winning documentary film. The story behind their most recent mural is one of compassion, sacrifice, love — and third eye vision.\u003c/p>\n\u003cp>Burke and Peskador worked on the project with a third co-lead artist, Joevic Yeban, as well as assistant artists Veronica Aguilar and Pablo Ruiz, and photographer Steve Babuliak. The mural is the third in a series of “Love Letter to Oakland”-themed murals; the other two are located in Jack London Square and Temescal. Burke says additional entries in the series are continually under consideration, “but we want them to be neighborhood-specific.”\u003c/p>\n\u003cfigure id=\"attachment_13934661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_4.jpg\" alt=\"Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th anniversary of the Souls’ debut album \u003cem>93 Til Infinity\u003c/em> served as a catalyst for the mural, says Burke. “I thought, man, that would be a great thing to celebrate them in conjunction with this anniversary tour,” he says. In the first half of this year, Burke’s team met with the Souls and brought them into the studio for reference photos. “And then,” Burke says, “we had to find a site.”\u003c/p>\n\u003cp>They wanted a large-scale wall to maximize visual impact, and a spot in East Oakland, where the Souls are from. “That was really important to us, because their headquarters is right around the corner from where we eventually painted the mural,” says Burke.\u003c/p>\n\u003cp>[aside postID='arts_13932471']After exploring various options, the best one turned out to be their home base. High Street Studios’ landlord gave them permission to paint the studio’s building, and also granted them a rent reduction for the service — which was critical, because other funding sources dried up. The muralists ended up doing their latest love letter as an actual act of love. \u003c/p>\n\u003cp>“It’s not like we’re trying to always do this under budget or for free or anything like that,” Burke says, adding that artists sometimes have to find a balance between commercially lucrative and artistically satisfying projects. This was the latter.\u003c/p>\n\u003cfigure id=\"attachment_13934667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_1.jpg\" alt=\"\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus, David Burke, Opio, Joevic Yeban, Tajai, Pancho Peskador and Phesto Dee pose in front of the Souls of Mischief mural at High and Watting Streets in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work began in July; the entire painting process took about five weeks. Throughout, the muralists’ spirits were uplifted, Peskador says, by “the constant support and excitement of the neighborhood people” from all walks of life: OUSD employees, the unhoused, everyday residents and families.\u003c/p>\n\u003cp>The original sketch left room for creative inspiration. “In this mural we were jazz players,” says Peskador. “It has a structure. But also we were able to improvise on top of that structure.”\u003c/p>\n\u003cp>“We wanted to give each one of the band members their own space to operate. And each one of those portraits has their own environment,” adds Burke.\u003c/p>\n\u003cp>This birthed a specific design aesthetic, Peskador says. “We wanted to create an analog and futuristic vision where technology and nature are embracing each other, not necessarily in contraposition and fighting.”\u003c/p>\n\u003cfigure id=\"attachment_13934660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_3.jpg\" alt=\"A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual symbols included musical equipment — speakers and old-school equalizers — as well as what Peskador calls “a little magic: orbs of energy coming out of Opio’s hands, cables that turn into veins and the veins turn into roots. And all that is intertwined and interconnected, giving the statement [that] nothing is separate. We are all connected.”\u003c/p>\n\u003cp>The painters finished the day before the Sept. 3 unveiling ceremony, which turned out to be a reminder of what’s good about Oakland: culture, community, and diversity. \u003c/p>\n\u003cp>While waiting for the Souls to arrive, the muralists chatted with local visual artists Keena Romano and Jet Martinez, and DJ Hella Good spun underground hip-hop — including deep Hiero cuts, like Del’s “The Undisputed Ones” — while perched on a scaffold. Neighborhood residents remarked how they’d been following the mural’s progress as the crowd began to thicken with Hiero supporters: friends, family, and former Skyline High classmates. (Full disclosure: I spoke at this event, introducing the Souls by putting their legacy in context.)\u003c/p>\n\u003cp>[aside postID='arts_13924126']When it came time for the Souls to speak, the moment became weighty and poignant. Seeing the mural in person for the first time, they were visibly moved: A-Plus and Phesto, in particular, spoke in halting tones, struggling to find the right words and maintain composure. \u003c/p>\n\u003cp>“As guys who are wordsmiths,” Tajai began, “there’s no way to put into words” what the mural meant to them. “There is no way to possibly explain how this feels to guys who grew up here, never left here, been here the whole time, really trying to elevate what’s here. Because we know how beautiful and how important it is, just Oakland in general, worldwide.\u003c/p>\n\u003cp>“The Panthers, the hippies, womens’ movement, people with disabilities, (the Bay Area) is a place where all these movements have been championed. And spearheaded. To be part of this permanent landscape is extremely important to us. We’re grateful to the artists and all of y’all beyond the limited ability of words to express.”\u003c/p>\n\u003cfigure id=\"attachment_13934662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_5.jpg\" alt=\"Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a hectic year of doing 100-plus shows, on top of 30 years of being professional musicians, there weren’t many firsts they’d yet to achieve, Tajai added. “This here is a first like no other.”\u003c/p>\n\u003cp>“If you know me, I could never be called a man of few words, but there’s always a day,” said A-Plus, before taking an extended pause. “I know my father’s here. I’m super-thankful, super proud. Man…” his words trailed off. “This is huge. I love y’all.”\u003c/p>\n\u003cp>[aside postID='arts_13923938']“It’s indescribable,” said Opio. “We put our heart and soul into this. It’s been a lot of hard work and dedication. To be honored in your hometown has gotta be one of the greatest honors of all time for me.”\u003c/p>\n\u003cp>“We’ve been following the progress of the mural overseas and on the North American side,” explained Phesto Dee. “When they started finishing up this side, my wife brought my kids down and they stood in front of it.” He paused to let the emphasis resonate. “They stood in front and that just did it. The scale started to really come to me at that point, just how large it was. Also, what it means for generations to come.”\u003c/p>\n\u003cfigure id=\"attachment_13934664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Burke_1.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Souls of Mischief mural in progress at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burke says it was important to give the Souls their flowers while they are still here, noting that many hip-hop-themed local murals are memorials painted only after the passing of a musical icon. He was also conscious of the fact the mural and its subjects represent a counter-narrative to mainstream depictions of hip-hop. During their Hiero Day performance, A-Plus told the crowd, “we’re about that peace.” When Opio came into the studio to take his reference photo, he reportedly said, “I just want to be smiling.”\u003c/p>\n\u003cp>The Love Letters crew are still planning a Phase 2, where they hope to complete the unfinished sections of the wall and honor local female hip-hop artists, along with Oakland’s graffiti history.\u003c/p>\n\u003cp>But for now, the artists can chill, knowing they’ve accomplished something great. For Peskador, the mural’s significance is that it has altered the neighborhood’s drab environment in a positive way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That is so huge for me personally, to see how people vibrate (to the mural) and how you can change places… the energy of that corner is changed forever. It’s never going to be the same corner.”\u003c/p>\n\n","blocks":[],"excerpt":"A vibrant new mural in East Oakland of the hip-hop group represents a 30-year milestone.","status":"publish","parent":0,"modified":1705005036,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1936},"headData":{"title":"Let ’Em Know: Oakland’s New Souls of Mischief Mural | KQED","description":"A vibrant new mural in East Oakland of the hip-hop group represents a 30-year milestone.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Let ’Em Know: Oakland’s New Souls of Mischief Mural","datePublished":"2023-09-13T00:00:19.000Z","dateModified":"2024-01-11T20:30:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13934676/souls-of-mischief-mural-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been near lower High Street in Oakland over the past few weeks, you may have noticed something beautiful taking shape: a large, colorful mural featuring Oakland’s Souls of Mischief. \u003c/p>\n\u003cp>The mural, which covers the building for High Street Studios, spans parts of two city blocks and features portraits of all four members of the East Oakland hip-hop group. On the High Street side, Opio appears in a setting dotted with sunstars, flowers, and birds against a multi-hued sky. Next to him, Tajai gazes out at viewers amidst a backdrop of urban buildings, geometrical shapes, and the Hiero sigil imposed over a sunset cityscape\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934324","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>On the Watting Street side, Phesto Dee taps the side of his head with one hand while the other points outward, his figure partially obscuring what looks like an African mask with a speaker cone for an eye. Nearby is A-Plus, arms outstretched in a welcoming gesture in front of flowers and abstract disks. The combination of these images suggests a spiritual aspect of hip-hop you never knew existed.\u003c/p>\n\u003cp>The vibrant painting, created by artists based out of High Street Studios, is nestled in a working-class, industrial part of the Fruitvale District. It’s a neighborhood whose environmental landscape has historically been defined by nondescript buildings: auto parts stores, an OUSD facility and a lumber company coexist with numerous warehouses and live-work spaces.\u003c/p>\n\u003cfigure id=\"attachment_13934665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00005.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the Souls of Mischief mural at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, the mural nods to a lesser-known element of the neighborhood’s history. Quiet as it’s kept, lower High Street has long been home to a vibrant artist community working out of those warehouses, and the area has made notable contributions to local hip-hop. In the mid-’90s, the warehouse at 4001 San Leandro was occupied by the Mystik Journeymen during a formative time in their development. The DIY hip-hop duo became known for throwing “Top Ramen” parties at the spot, where the cover charge was $5 or a package of the starchy instant noodle soup. When the crew expanded to become the Living Legends in 1996, emcees Eligh, the Grouch and Murs all moved into the space, where they lived in makeshift partitioned “rooms” and recorded some of their earliest works as a collective. \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>Faultline is among the currently active artist spaces in the area; others include the embattled Vulcan Lofts (whose residents have been fighting to maintain rent control and prevent displacement of 200 artists since 2019) and Oscillation Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933590","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>David Burke, co-lead artist for the Souls of Mischief mural, is headquartered at High Street Studios, along with co-lead artist Pancho Peskador. The two are public art veterans; Burke served as art director for Art Esteem’s Oakland Superheroes Mural Project, while Peskador was co-lead artist on the Alice Street mural that became the subject of an award-winning documentary film. The story behind their most recent mural is one of compassion, sacrifice, love — and third eye vision.\u003c/p>\n\u003cp>Burke and Peskador worked on the project with a third co-lead artist, Joevic Yeban, as well as assistant artists Veronica Aguilar and Pablo Ruiz, and photographer Steve Babuliak. The mural is the third in a series of “Love Letter to Oakland”-themed murals; the other two are located in Jack London Square and Temescal. Burke says additional entries in the series are continually under consideration, “but we want them to be neighborhood-specific.”\u003c/p>\n\u003cfigure id=\"attachment_13934661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_4.jpg\" alt=\"Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th anniversary of the Souls’ debut album \u003cem>93 Til Infinity\u003c/em> served as a catalyst for the mural, says Burke. “I thought, man, that would be a great thing to celebrate them in conjunction with this anniversary tour,” he says. In the first half of this year, Burke’s team met with the Souls and brought them into the studio for reference photos. “And then,” Burke says, “we had to find a site.”\u003c/p>\n\u003cp>They wanted a large-scale wall to maximize visual impact, and a spot in East Oakland, where the Souls are from. “That was really important to us, because their headquarters is right around the corner from where we eventually painted the mural,” says Burke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>After exploring various options, the best one turned out to be their home base. High Street Studios’ landlord gave them permission to paint the studio’s building, and also granted them a rent reduction for the service — which was critical, because other funding sources dried up. The muralists ended up doing their latest love letter as an actual act of love. \u003c/p>\n\u003cp>“It’s not like we’re trying to always do this under budget or for free or anything like that,” Burke says, adding that artists sometimes have to find a balance between commercially lucrative and artistically satisfying projects. This was the latter.\u003c/p>\n\u003cfigure id=\"attachment_13934667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_1.jpg\" alt=\"\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus, David Burke, Opio, Joevic Yeban, Tajai, Pancho Peskador and Phesto Dee pose in front of the Souls of Mischief mural at High and Watting Streets in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work began in July; the entire painting process took about five weeks. Throughout, the muralists’ spirits were uplifted, Peskador says, by “the constant support and excitement of the neighborhood people” from all walks of life: OUSD employees, the unhoused, everyday residents and families.\u003c/p>\n\u003cp>The original sketch left room for creative inspiration. “In this mural we were jazz players,” says Peskador. “It has a structure. But also we were able to improvise on top of that structure.”\u003c/p>\n\u003cp>“We wanted to give each one of the band members their own space to operate. And each one of those portraits has their own environment,” adds Burke.\u003c/p>\n\u003cp>This birthed a specific design aesthetic, Peskador says. “We wanted to create an analog and futuristic vision where technology and nature are embracing each other, not necessarily in contraposition and fighting.”\u003c/p>\n\u003cfigure id=\"attachment_13934660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_3.jpg\" alt=\"A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual symbols included musical equipment — speakers and old-school equalizers — as well as what Peskador calls “a little magic: orbs of energy coming out of Opio’s hands, cables that turn into veins and the veins turn into roots. And all that is intertwined and interconnected, giving the statement [that] nothing is separate. We are all connected.”\u003c/p>\n\u003cp>The painters finished the day before the Sept. 3 unveiling ceremony, which turned out to be a reminder of what’s good about Oakland: culture, community, and diversity. \u003c/p>\n\u003cp>While waiting for the Souls to arrive, the muralists chatted with local visual artists Keena Romano and Jet Martinez, and DJ Hella Good spun underground hip-hop — including deep Hiero cuts, like Del’s “The Undisputed Ones” — while perched on a scaffold. Neighborhood residents remarked how they’d been following the mural’s progress as the crowd began to thicken with Hiero supporters: friends, family, and former Skyline High classmates. (Full disclosure: I spoke at this event, introducing the Souls by putting their legacy in context.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When it came time for the Souls to speak, the moment became weighty and poignant. Seeing the mural in person for the first time, they were visibly moved: A-Plus and Phesto, in particular, spoke in halting tones, struggling to find the right words and maintain composure. \u003c/p>\n\u003cp>“As guys who are wordsmiths,” Tajai began, “there’s no way to put into words” what the mural meant to them. “There is no way to possibly explain how this feels to guys who grew up here, never left here, been here the whole time, really trying to elevate what’s here. Because we know how beautiful and how important it is, just Oakland in general, worldwide.\u003c/p>\n\u003cp>“The Panthers, the hippies, womens’ movement, people with disabilities, (the Bay Area) is a place where all these movements have been championed. And spearheaded. To be part of this permanent landscape is extremely important to us. We’re grateful to the artists and all of y’all beyond the limited ability of words to express.”\u003c/p>\n\u003cfigure id=\"attachment_13934662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_5.jpg\" alt=\"Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a hectic year of doing 100-plus shows, on top of 30 years of being professional musicians, there weren’t many firsts they’d yet to achieve, Tajai added. “This here is a first like no other.”\u003c/p>\n\u003cp>“If you know me, I could never be called a man of few words, but there’s always a day,” said A-Plus, before taking an extended pause. “I know my father’s here. I’m super-thankful, super proud. Man…” his words trailed off. “This is huge. I love y’all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s indescribable,” said Opio. “We put our heart and soul into this. It’s been a lot of hard work and dedication. To be honored in your hometown has gotta be one of the greatest honors of all time for me.”\u003c/p>\n\u003cp>“We’ve been following the progress of the mural overseas and on the North American side,” explained Phesto Dee. “When they started finishing up this side, my wife brought my kids down and they stood in front of it.” He paused to let the emphasis resonate. “They stood in front and that just did it. The scale started to really come to me at that point, just how large it was. Also, what it means for generations to come.”\u003c/p>\n\u003cfigure id=\"attachment_13934664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Burke_1.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Souls of Mischief mural in progress at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burke says it was important to give the Souls their flowers while they are still here, noting that many hip-hop-themed local murals are memorials painted only after the passing of a musical icon. He was also conscious of the fact the mural and its subjects represent a counter-narrative to mainstream depictions of hip-hop. During their Hiero Day performance, A-Plus told the crowd, “we’re about that peace.” When Opio came into the studio to take his reference photo, he reportedly said, “I just want to be smiling.”\u003c/p>\n\u003cp>The Love Letters crew are still planning a Phase 2, where they hope to complete the unfinished sections of the wall and honor local female hip-hop artists, along with Oakland’s graffiti history.\u003c/p>\n\u003cp>But for now, the artists can chill, knowing they’ve accomplished something great. For Peskador, the mural’s significance is that it has altered the neighborhood’s drab environment in a positive way.\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>“That is so huge for me personally, to see how people vibrate (to the mural) and how you can change places… the energy of that corner is changed forever. It’s never going to be the same corner.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934676/souls-of-mischief-mural-oakland","authors":["11839"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_5016","arts_2284","arts_831","arts_1737","arts_1143"],"featImg":"arts_13934663","label":"arts"},"arts_13934324":{"type":"posts","id":"arts_13934324","meta":{"index":"posts_1591205157","site":"arts","id":"13934324","score":null,"sort":[1693960844000]},"guestAuthors":[],"slug":"hiero-day-2023-oakland-review-photos","title":"Hiero Day 2023 Affirmed Hip-Hop’s Local Essence — and National Gravity","publishDate":1693960844,"format":"aside","headTitle":"Hiero Day 2023 Affirmed Hip-Hop’s Local Essence — and National Gravity | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13934333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00413.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Common on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>With stellar performances from headlining act Common and the eponymous Hieroglyphics crew, Hiero Day 2023 did not disappoint.\u003c/p>\n\u003cp>In its second year at Frank Ogawa Plaza, in front of Oakland City Hall – downsized from the previous location at Third Street and Linden, which saw crowds in excess of 20,000 – the daylong hip-hop festival felt just right. With little crowd congestion, one could easily stroll through the vendors and food options, or traverse between two stages. Yet it was dense enough to evoke a sense of collective excitement amongst attendees – a mix of hip-hop fans from seemingly all ages, walks of life, and ethnic backgrounds.\u003c/p>\n\u003cp>[aside postID='arts_13924126']It’s safe to say people will be talking about Common’s Oakland appearance long afterwards. The Chicago emcee, actor, activist and philanthropist delivered a top-notch set that interspersed his own hits with iconic hip-hop songs by other artists, in honor of “Hip Hop 50” – the 50th anniversary of hip-hop, a through-line for many acts throughout the day. Colorfully dressed in a short sleeve button-down shirt, Common’s charisma and commanding stage presence were in evidence for all to see. \u003c/p>\n\u003cfigure id=\"attachment_13934339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00335.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Common talking with Davey D backstage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Common began his set with his ode to hip-hop culture, “I Used to Love H.E.R.,” which first catapulted him to national attention in the mid-’90s. Like De La Soul’s “Stakes Is High,” the song stands as a cautionary tale, warning against cultural co-option and commodification while underscoring what’s attractive and endearing about the culture in the first place. With poetic flair, Common spins his tale by metaphorically referring to hip-hop as a girl he fell in love with at the age of 10, who “was fresh, yo, when she was underground.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first “original, pure, untampered, a down sister,” she changed – moving to the West Coast and embracing a gangsta lifestyle instead of Afrocentricity, then becoming popular with suburban crowds. Though his love has been defiled and degraded, Common pledges at the end of the song: “I’ma take her back, hopin’ that the shit stop / ‘Cause who I’m talkin’ about, y’all, is hip-hop.”\u003c/p>\n\u003cp>It proved to be the perfect set opener, a classic tune made before many in the audience were born, that remains relevant in its message while aligning with the Hip Hop 50 theme. Another highlight was “The Corner,” from the album \u003cem>Be\u003c/em>, produced by Kanye West (back when he was hip-hop’s rising star on the boards), the album version of which features Umar Bin Hassan of the Last Poets, the socially-conscious spoken word artists known as the godfathers of rap. It was a solid selection that peeled back Common’s Hollywood sheen for some authentic grit. \u003c/p>\n\u003cfigure id=\"attachment_13934336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00132.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien and Ras Ceylon backstage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Common closed his set, and the show, with “The Light,” a single from the heyday of the neo-soul era that remains one of hip-hop’s sweetest love songs. Though Common has a reputation as a ladies’ man – Oakland mayor Sheng Thao gushed over him earlier in the day – his approach to the opposite sex has always been respectful. So it wasn’t difficult for the ladies in the house to get completely into the song’s mellow, feel-good vibe, singing along to the chorus lifted from the late Bobby Caldwell: “There are times, when you need someone / I will be by your side / There is a light that shines / Special for me and you.”\u003c/p>\n\u003cp>Right before Common’s set, Hieroglyphics performed a short but impactful set that seemed to roll back the clock 30 years in terms of their on-stage energy – except their kineticism was tempered by veteran savvy. Up-and coming emcees in the crowd were likely taking notes; this was a masterclass in live performance dynamics. Kicking off with 1998’s “Oakland Blackouts,” the fan favorite’s laid-back album version donned a supercharged carapace live, as Del the Funky Homosapien and Opio traded verses well-qualified to be hip-hop quotables. This may be the only rap song in history to compare emcees to “platypuses,” and the two emcees’ internal rhyme schemes were impeccable throughout. \u003c/p>\n\u003cp>“Oakland Blackouts” set the tone for the rest of the set, as the other Hieros fed off Del and Opio with lots of crowd-amping gestures and hand raises. There were noticeable rushes from the audience for particularly nasty lyrical flurries by Tajai and Pep Love, although there really wasn’t a weak flow to be found amongst any of the Hieros. It would have been nice had the set afforded more exposition of deep cuts from the collective’s three-decade catalog – “The Powers That Be,” from 2003’s \u003cem>Full Circle\u003c/em>, sounded epic. \u003c/p>\n\u003cfigure id=\"attachment_13934882\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Hiero.Group_.2023-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song’s bouncy, boom-bap beat shows why Domino is highly underrated as a producer, while the verses from Opio, Tajai, Del and Pep Love were a wicked whirlwind of battle-rap braggadocio and pop culture references (including Chow Yun Fat and Voltron). When Del says “I’m kinda different yo / what I say is thought-provoking,” he could easily be referring to his entire crew. “This is rap Olympics / Hieroglyphics, the dream team,” Pep Love proclaimed. In that moment, no one witnessing the show would have reasonably disagreed.\u003c/p>\n\u003cp>[aside postID='arts_13927692']Hieroglyphics closed their set with Souls of Mischief’s iconic “93 Til Infinity,” which has to be one of the top hip-hop anthems of all time. There’s just something about the A-Plus-produced track that makes you feel warm and fuzzy inside. Maybe it’s the pitch-shifted Billy Cobham sample, or maybe it’s the breezy lyrics which evoke the epitome of laid-back Cali cool (“Now we feel the good vibrations / So many females, so much inspiration”). The song never gets old.\u003c/p>\n\u003cp>An unexpected highlight took place between Hieroglyphics and Common’s sets, when Oakland Mayor Sheng Thao and Mystik Journeymen/Living Legends emcee Corey “Sunspot Jonz” Johnson announced that the City has partnered with Hiero Day – a development that illustrates just how far hip-hop has come. Some may recall when Oakland’s annual Art & Soul festival avoided booking hip-hop acts altogether, or Oakland’s year-long moratorium on rap shows at City-owned facilities. Just as Hieroglyphics broke the mold by performing at Art & Soul, this year’s Hiero Day appeared to usher in a new era of municipal collaboration with the hip-hop community. \u003c/p>\n\u003cfigure id=\"attachment_13934330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00356.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Shen Thao on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thao, for her part, certainly seemed to embrace the culture. Dressed in a hella fresh varsity-style jacket with Oakland’s tree logo embroidered on the back, she looked amped to be able to talk about something other than rising crime rates, police scandals, and the deteriorating relationship with the Oakland A’s. She handed out a series of commemorative proclamations honoring the contributions of community mainstays and culture keepers, including Johnson; radio personality, DJ, and educator Davey D; Eastside Arts Alliance co-founders Elena Serrano and Traci Bartlow; visual artist and filmmaker Shomari Smith; and rapper, entrepreneur and activist Mistah F.A.B. \u003c/p>\n\u003cp>Each of the honorees gave a short speech. “I brought the underground here,” Johnson remarked, while Serrano noted that her association with hip-hop predates Eastside’s founding, going back to the late ’90s at Berkeley’s La Pena. F.A.B. made a point of speaking to underserved kids dealing with trauma: “It’s possible. Whether your father’s incarcerated or your mother’s on drugs, it’s possible to make it” – referring to his own uncertain upbringing and triumphant transformation into a certified cultural hero. \u003c/p>\n\u003cfigure id=\"attachment_13934335\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00062-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Johnson and Mistah F.A.B. pose with singer Alanis Morissette, husband and rapper Soul Eye and their family at Hiero Day in Oakland’s Frank Ogawa Plaza on Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The presentations closed with Thao handing Common a heavyweight boxing-style belt, acknowledging his community work. Later, during his set, the rapper noted that he had been inspired by “the Town”’s examples, citing both Hieroglyphics and the Black Panthers, and name-checking Fred Hampton, the martyred leader of Chicago’s Panther chapter and subject of the recent film \u003cem>Judas and the Black Messiah\u003c/em>. \u003c/p>\n\u003cp>The pacing at the end — Hiero, Thao, and Common — capped a day that started at noon and gradually built up momentum, as up-and-coming artists rocked both stages and attendees filtered into the venue. Some of the undercard was hit-or-miss, and the production’s timing got skewed, forcing some set times to be shortened, but there were still plenty of highlights.\u003c/p>\n\u003cfigure id=\"attachment_13934360\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00040.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richie Cunning on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sparsely-attended early set by Richie Cunning on the second stage probably deserved a bigger audience. Cunning has been an emcee on the rise for many years now, and his flow, delivery, and punchline game seem increasingly ready for prime time. For fans of hardcore Bay Area mobb music, it was great to see Cellski with DJ T.C. the Enhancer. The Kev Choice Ensemble added jazzy musicality with a trip through hip-hop history, from Chic’s “Good Times” to a nod to Zumbi of Zion-I with “Don’t Lose Your Head.” \u003c/p>\n\u003cfigure id=\"attachment_13934334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00230.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>L.A. underground legend Medusa, who once bested Eminem in a rap battle back in the ’90s, delivered a fiery and fierce-as-fuck set. It was great to see the former member of duo Feline Science and Project Blowed alumnus still doing her thing. Her set was unfortunately truncated, but not before she ripped the recent single “Catch Yo Feelinz” (“You better catch your feelings / I’m about to jump off!”), which shows she can flow over anything, even a contemporary-sounding trap beat. \u003c/p>\n\u003cp>\u003cem>Ultimate Breaks and Beats\u003c/em> curator Breakbeat Lou performed a high-level DJ set with sublime segues, like the Funky Four + 1’s “That’s The Joint” into Naughty By Nature’s “Uptown Anthem,” The Whole Darn Family’s “Seven Minutes of Funk” into Dru Down’s “Pimp of the Year,” and Digable Planets’ “Rebirth of Slick” into E-40’s “Yay Area.” Blending original songs with later tracks that used them as sample sources further carried the theme of hip-hop history as a progression and evolution of a cultural movement that started from the bottom and ended up at City Hall – literally. Yadidahmean?\u003c/p>\n\u003cfigure id=\"attachment_13934340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00110.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cellski on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the day, several of the artists spoke backstage about hip-hop’s evolution and their personal journeys through the culture. Del, reflecting on 50 years of hip-hop, said, “I just want our values and everything we based it on to live on.” Those values include“self-improvement goals and knowing your environment, being able to deal with motherfuckers in a competitive way instead of fighting or killing each other.” \u003c/p>\n\u003cfigure id=\"attachment_13934348\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00271.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Opio on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A-Plus remarked on the longevity of “93 Til Infinity”: “I feel appreciative, honored. You know that I produce many different things, man. But that one is certainly special. It’s done everything for Souls of Mischief and for Hiero. The ways it’s aged, and the new generation with streaming, they’re looking back at it and then finding their own way with music.”\u003c/p>\n\u003cp>That’s enabled Hiero’s fanbase to expand beyond old heads, he says. “Young kids are part of our demo at this point. And it’s just really surreal. You don’t think that far ahead, like 30 years from now, young kids are going to think your song is the shit.”\u003c/p>\n\u003cfigure id=\"attachment_13934887\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Medusa.HieroDay2023-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Medusa on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mistah F.A.B. specifically saluted Souls of Mischief’s milestone and what it means for the Bay Area and for Oakland. “To me, Hip Hop 30 is more important to Hip Hop 50, which is kind of weird. Crazy. But Hip Hop 30 for Hiero is very important, man. And I just love the fact that we’ve been included (in the Hiero Day celebration) to be able to watch our hometown guys come through, and for years continue to maintain relevancy, and continue to keep pushing and representing Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13934346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00055.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, there would be no 30th anniversary for Souls had the culture never existed in the first place. F.A.B. continued: “Big shout out to the forefathers that opened up the doors. We’re happy to be here. Let’s continue to get another 50 up out of it, and not let the culture die, by preserving and respecting our elders and continuing to keep doing new work.”\u003c/p>\n\u003cfigure id=\"attachment_13934344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00348.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n","blocks":[],"excerpt":"With headliner Common, the Hieroglyphics crew celebrated 30 years of '93 Til Infinity' in front of Oakland City Hall. ","status":"publish","parent":0,"modified":1705005063,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":2469},"headData":{"title":"Hiero Day 2023 Affirmed Hip-Hop’s Local Essence — and National Gravity | KQED","description":"With headliner Common, the Hieroglyphics crew celebrated 30 years of '93 Til Infinity' in front of Oakland City Hall. ","ogTitle":"","ogDescription":"","ogImgId":"arts_13934341","twTitle":"","twDescription":"","twImgId":"arts_13934341","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hiero Day 2023 Affirmed Hip-Hop’s Local Essence — and National Gravity","datePublished":"2023-09-06T00:40:44.000Z","dateModified":"2024-01-11T20:31:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"WpOldSlug":"hiero-day-2023-affirmed-hip-hops-local-essence-and-national-gravity","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13934324/hiero-day-2023-oakland-review-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00413.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00413-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Common on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>With stellar performances from headlining act Common and the eponymous Hieroglyphics crew, Hiero Day 2023 did not disappoint.\u003c/p>\n\u003cp>In its second year at Frank Ogawa Plaza, in front of Oakland City Hall – downsized from the previous location at Third Street and Linden, which saw crowds in excess of 20,000 – the daylong hip-hop festival felt just right. With little crowd congestion, one could easily stroll through the vendors and food options, or traverse between two stages. Yet it was dense enough to evoke a sense of collective excitement amongst attendees – a mix of hip-hop fans from seemingly all ages, walks of life, and ethnic backgrounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s safe to say people will be talking about Common’s Oakland appearance long afterwards. The Chicago emcee, actor, activist and philanthropist delivered a top-notch set that interspersed his own hits with iconic hip-hop songs by other artists, in honor of “Hip Hop 50” – the 50th anniversary of hip-hop, a through-line for many acts throughout the day. Colorfully dressed in a short sleeve button-down shirt, Common’s charisma and commanding stage presence were in evidence for all to see. \u003c/p>\n\u003cfigure id=\"attachment_13934339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00335.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00335-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Common talking with Davey D backstage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Common began his set with his ode to hip-hop culture, “I Used to Love H.E.R.,” which first catapulted him to national attention in the mid-’90s. Like De La Soul’s “Stakes Is High,” the song stands as a cautionary tale, warning against cultural co-option and commodification while underscoring what’s attractive and endearing about the culture in the first place. With poetic flair, Common spins his tale by metaphorically referring to hip-hop as a girl he fell in love with at the age of 10, who “was fresh, yo, when she was underground.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first “original, pure, untampered, a down sister,” she changed – moving to the West Coast and embracing a gangsta lifestyle instead of Afrocentricity, then becoming popular with suburban crowds. Though his love has been defiled and degraded, Common pledges at the end of the song: “I’ma take her back, hopin’ that the shit stop / ‘Cause who I’m talkin’ about, y’all, is hip-hop.”\u003c/p>\n\u003cp>It proved to be the perfect set opener, a classic tune made before many in the audience were born, that remains relevant in its message while aligning with the Hip Hop 50 theme. Another highlight was “The Corner,” from the album \u003cem>Be\u003c/em>, produced by Kanye West (back when he was hip-hop’s rising star on the boards), the album version of which features Umar Bin Hassan of the Last Poets, the socially-conscious spoken word artists known as the godfathers of rap. It was a solid selection that peeled back Common’s Hollywood sheen for some authentic grit. \u003c/p>\n\u003cfigure id=\"attachment_13934336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00132.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00132-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien and Ras Ceylon backstage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Common closed his set, and the show, with “The Light,” a single from the heyday of the neo-soul era that remains one of hip-hop’s sweetest love songs. Though Common has a reputation as a ladies’ man – Oakland mayor Sheng Thao gushed over him earlier in the day – his approach to the opposite sex has always been respectful. So it wasn’t difficult for the ladies in the house to get completely into the song’s mellow, feel-good vibe, singing along to the chorus lifted from the late Bobby Caldwell: “There are times, when you need someone / I will be by your side / There is a light that shines / Special for me and you.”\u003c/p>\n\u003cp>Right before Common’s set, Hieroglyphics performed a short but impactful set that seemed to roll back the clock 30 years in terms of their on-stage energy – except their kineticism was tempered by veteran savvy. Up-and coming emcees in the crowd were likely taking notes; this was a masterclass in live performance dynamics. Kicking off with 1998’s “Oakland Blackouts,” the fan favorite’s laid-back album version donned a supercharged carapace live, as Del the Funky Homosapien and Opio traded verses well-qualified to be hip-hop quotables. This may be the only rap song in history to compare emcees to “platypuses,” and the two emcees’ internal rhyme schemes were impeccable throughout. \u003c/p>\n\u003cp>“Oakland Blackouts” set the tone for the rest of the set, as the other Hieros fed off Del and Opio with lots of crowd-amping gestures and hand raises. There were noticeable rushes from the audience for particularly nasty lyrical flurries by Tajai and Pep Love, although there really wasn’t a weak flow to be found amongst any of the Hieros. It would have been nice had the set afforded more exposition of deep cuts from the collective’s three-decade catalog – “The Powers That Be,” from 2003’s \u003cem>Full Circle\u003c/em>, sounded epic. \u003c/p>\n\u003cfigure id=\"attachment_13934882\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Hiero.Group_.2023-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Hiero.Group_.2023-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song’s bouncy, boom-bap beat shows why Domino is highly underrated as a producer, while the verses from Opio, Tajai, Del and Pep Love were a wicked whirlwind of battle-rap braggadocio and pop culture references (including Chow Yun Fat and Voltron). When Del says “I’m kinda different yo / what I say is thought-provoking,” he could easily be referring to his entire crew. “This is rap Olympics / Hieroglyphics, the dream team,” Pep Love proclaimed. In that moment, no one witnessing the show would have reasonably disagreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927692","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hieroglyphics closed their set with Souls of Mischief’s iconic “93 Til Infinity,” which has to be one of the top hip-hop anthems of all time. There’s just something about the A-Plus-produced track that makes you feel warm and fuzzy inside. Maybe it’s the pitch-shifted Billy Cobham sample, or maybe it’s the breezy lyrics which evoke the epitome of laid-back Cali cool (“Now we feel the good vibrations / So many females, so much inspiration”). The song never gets old.\u003c/p>\n\u003cp>An unexpected highlight took place between Hieroglyphics and Common’s sets, when Oakland Mayor Sheng Thao and Mystik Journeymen/Living Legends emcee Corey “Sunspot Jonz” Johnson announced that the City has partnered with Hiero Day – a development that illustrates just how far hip-hop has come. Some may recall when Oakland’s annual Art & Soul festival avoided booking hip-hop acts altogether, or Oakland’s year-long moratorium on rap shows at City-owned facilities. Just as Hieroglyphics broke the mold by performing at Art & Soul, this year’s Hiero Day appeared to usher in a new era of municipal collaboration with the hip-hop community. \u003c/p>\n\u003cfigure id=\"attachment_13934330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00356.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00356-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Shen Thao on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thao, for her part, certainly seemed to embrace the culture. Dressed in a hella fresh varsity-style jacket with Oakland’s tree logo embroidered on the back, she looked amped to be able to talk about something other than rising crime rates, police scandals, and the deteriorating relationship with the Oakland A’s. She handed out a series of commemorative proclamations honoring the contributions of community mainstays and culture keepers, including Johnson; radio personality, DJ, and educator Davey D; Eastside Arts Alliance co-founders Elena Serrano and Traci Bartlow; visual artist and filmmaker Shomari Smith; and rapper, entrepreneur and activist Mistah F.A.B. \u003c/p>\n\u003cp>Each of the honorees gave a short speech. “I brought the underground here,” Johnson remarked, while Serrano noted that her association with hip-hop predates Eastside’s founding, going back to the late ’90s at Berkeley’s La Pena. F.A.B. made a point of speaking to underserved kids dealing with trauma: “It’s possible. Whether your father’s incarcerated or your mother’s on drugs, it’s possible to make it” – referring to his own uncertain upbringing and triumphant transformation into a certified cultural hero. \u003c/p>\n\u003cfigure id=\"attachment_13934335\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00062-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00062-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Johnson and Mistah F.A.B. pose with singer Alanis Morissette, husband and rapper Soul Eye and their family at Hiero Day in Oakland’s Frank Ogawa Plaza on Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The presentations closed with Thao handing Common a heavyweight boxing-style belt, acknowledging his community work. Later, during his set, the rapper noted that he had been inspired by “the Town”’s examples, citing both Hieroglyphics and the Black Panthers, and name-checking Fred Hampton, the martyred leader of Chicago’s Panther chapter and subject of the recent film \u003cem>Judas and the Black Messiah\u003c/em>. \u003c/p>\n\u003cp>The pacing at the end — Hiero, Thao, and Common — capped a day that started at noon and gradually built up momentum, as up-and-coming artists rocked both stages and attendees filtered into the venue. Some of the undercard was hit-or-miss, and the production’s timing got skewed, forcing some set times to be shortened, but there were still plenty of highlights.\u003c/p>\n\u003cfigure id=\"attachment_13934360\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00040.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00040-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richie Cunning on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sparsely-attended early set by Richie Cunning on the second stage probably deserved a bigger audience. Cunning has been an emcee on the rise for many years now, and his flow, delivery, and punchline game seem increasingly ready for prime time. For fans of hardcore Bay Area mobb music, it was great to see Cellski with DJ T.C. the Enhancer. The Kev Choice Ensemble added jazzy musicality with a trip through hip-hop history, from Chic’s “Good Times” to a nod to Zumbi of Zion-I with “Don’t Lose Your Head.” \u003c/p>\n\u003cfigure id=\"attachment_13934334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00230.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00230-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>L.A. underground legend Medusa, who once bested Eminem in a rap battle back in the ’90s, delivered a fiery and fierce-as-fuck set. It was great to see the former member of duo Feline Science and Project Blowed alumnus still doing her thing. Her set was unfortunately truncated, but not before she ripped the recent single “Catch Yo Feelinz” (“You better catch your feelings / I’m about to jump off!”), which shows she can flow over anything, even a contemporary-sounding trap beat. \u003c/p>\n\u003cp>\u003cem>Ultimate Breaks and Beats\u003c/em> curator Breakbeat Lou performed a high-level DJ set with sublime segues, like the Funky Four + 1’s “That’s The Joint” into Naughty By Nature’s “Uptown Anthem,” The Whole Darn Family’s “Seven Minutes of Funk” into Dru Down’s “Pimp of the Year,” and Digable Planets’ “Rebirth of Slick” into E-40’s “Yay Area.” Blending original songs with later tracks that used them as sample sources further carried the theme of hip-hop history as a progression and evolution of a cultural movement that started from the bottom and ended up at City Hall – literally. Yadidahmean?\u003c/p>\n\u003cfigure id=\"attachment_13934340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00110.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00110-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cellski on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the day, several of the artists spoke backstage about hip-hop’s evolution and their personal journeys through the culture. Del, reflecting on 50 years of hip-hop, said, “I just want our values and everything we based it on to live on.” Those values include“self-improvement goals and knowing your environment, being able to deal with motherfuckers in a competitive way instead of fighting or killing each other.” \u003c/p>\n\u003cfigure id=\"attachment_13934348\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00271.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00271-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Opio on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A-Plus remarked on the longevity of “93 Til Infinity”: “I feel appreciative, honored. You know that I produce many different things, man. But that one is certainly special. It’s done everything for Souls of Mischief and for Hiero. The ways it’s aged, and the new generation with streaming, they’re looking back at it and then finding their own way with music.”\u003c/p>\n\u003cp>That’s enabled Hiero’s fanbase to expand beyond old heads, he says. “Young kids are part of our demo at this point. And it’s just really surreal. You don’t think that far ahead, like 30 years from now, young kids are going to think your song is the shit.”\u003c/p>\n\u003cfigure id=\"attachment_13934887\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Medusa.HieroDay2023-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Medusa.HieroDay2023-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Medusa on stage at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mistah F.A.B. specifically saluted Souls of Mischief’s milestone and what it means for the Bay Area and for Oakland. “To me, Hip Hop 30 is more important to Hip Hop 50, which is kind of weird. Crazy. But Hip Hop 30 for Hiero is very important, man. And I just love the fact that we’ve been included (in the Hiero Day celebration) to be able to watch our hometown guys come through, and for years continue to maintain relevancy, and continue to keep pushing and representing Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_13934346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00055.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, there would be no 30th anniversary for Souls had the culture never existed in the first place. F.A.B. continued: “Big shout out to the forefathers that opened up the doors. We’re happy to be here. Let’s continue to get another 50 up out of it, and not let the culture die, by preserving and respecting our elders and continuing to keep doing new work.”\u003c/p>\n\u003cfigure id=\"attachment_13934344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00348.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00348-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Frank Ogawa Plaza, Oakland, Sept. 4, 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934324/hiero-day-2023-oakland-review-photos","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_10342","arts_10278","arts_1088","arts_2284","arts_831","arts_1694","arts_1143","arts_19347"],"featImg":"arts_13934348","label":"source_arts_13934324"},"arts_13932465":{"type":"posts","id":"arts_13932465","meta":{"index":"posts_1591205157","site":"arts","id":"13932465","score":null,"sort":[1691008167000]},"guestAuthors":[],"slug":"goapele-closer-to-hip-hop","title":"Goapele: Closer to Hip-Hop Than You Knew","publishDate":1691008167,"format":"aside","headTitle":"Goapele: Closer to Hip-Hop Than You Knew | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>Goapele has never been a typical R&B singer. From the start of her career in the late ’90s, the Oakland-born vocalist has defied categorization. Her breakthrough 2001 single “Closer” arrived amidst a landscape of slickly produced, radio-friendly R&B, hip-hop/soul hybrids, and then-trendy neo-soul. Produced by Amp Live of hip-hop duo Zion I, with keyboards by Mike Tiger, “Closer” broke the mold with its warm, organic sound and inspirational, near-universal message of moving closer to one’s dream.\u003c/p>\n\u003cp>The song quickly became a Bay Area staple, landing in KMEL rotation — a rarity for an independently released R&B song. Before long, “Closer” entered the station’s nightly “7 at 7” countdown, and began moving up in the rankings.\u003c/p>\n\u003cp>“There was one point where they were going down the list, and 50 Cent was number two,” the singer recalls today. “And I was like, damn, I was bumped off the list. And then it got to number one and I was so happy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tb9fkGCCV1o\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThat moment literally moved Goapele closer to her dreams. “It was just so affirming for my city to embrace what I was doing, and music that was so close to my heart, and music that I didn’t know what genre it fit into.” It was also a validation of the Bay’s independent spirit, rather than “emanating something that’s already out there,” she says.\u003c/p>\n\u003cp>“Closer” became an anthem for people achieving a goal or moving forward in life. “I’ve sung it at a lot of colleges over the years. I’ve sung at weddings. I’ve ran into a lot of people that said it was their high school graduation song,” the singer recalls. The song has been embraced by rappers and singers alike, including Drake, YG, Kendrick Lamar and Chris Brown, as well as countless freestyle and mix-tape emcees. “I’m really grateful that it has stood the test of time and resonated with people.”\u003c/p>\n\u003cp>[aside postID='arts_13923938']She attributes this phenomenon to “how the drums hit” and how Tiger’s chord progression “just gives a certain feeling of like, upliftment and frustration at the same time that I think so many of us relate to.” People also relate to its central theme of “striving to get to the next level. And it can feel like a struggle sometimes even in the midst of glimpses of, you know, success.”\u003c/p>\n\u003cp>The song remains a staple of Goapele’s live sets, even though she’s recorded plenty of new music in the 20-plus years since “Closer”’s release. She admits there was a time when she was over it, and wanted to focus on fresh material. But then she realized, “people in the audience really wanted to hear it. And I just, I had to take a step back and think about my favorite artists. Like, I love a lot of their old music. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg\" alt=\"a young Black woman in a black flowy top performs while smiling at a microphone\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1536x1268.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-2048x1691.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1920x1585.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at S.O.B.’s in New York City in 2003. \u003ccite>(ohnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s 2001 album of the same name sold approximately 65,000 units on consignment, launching her as a viable new artist with a strong following. Since then, the singer has released four full-length albums and an EP, numerous music videos and a lifestyle brand (Dreamseekers) while performing live all over the world. She’s carved out a lane as a true original, never following current trends, yet always relevant, as her range has expanded from soulful, slow-tempo ballads to pulse-pounding club jams.\u003c/p>\n\u003cp>Shortly after her live performance at the inaugural Days with Zahra festival in Napa — as she readies herself for the release of another album, titled \u003cem>Colors\u003c/em> — she reflected on her long association with Bay Area hip-hop.\u003c/p>\n\u003ch2>An agent for social change\u003c/h2>\n\u003cp>As it turns out, Bay Area hip-hop was an important part of Goapele’s experience growing up, one that shaped her path as an artist. The first local rapper she recalls listening to was MC Hammer, when she was in junior high school, followed by Hieroglyphics. By the time she got to high school, she says, “for me it was all about underground hip-hop.”\u003c/p>\n\u003cp>Early in her career, she sang over hip-hop instrumentals at local spots like Mingles and La Peña. “My brother was a DJ. And so, you know, dub plates were popular.” A dub plate-style version sung over the remix of Supercat’s “Dolly My Baby” turned into one of her first singles, “Childhood Drama” — which she recently sung live in Jamaica with DJ Shortkut after not performing it in years.\u003c/p>\n\u003cp>Goapele’s first local rap collaborations were with Zion I, \u003ca href=\"https://youtu.be/Y1oB29QockI\">E-40\u003c/a>, and Hieroglyphics members A-Plus, Casual, and \u003ca href=\"https://youtu.be/CEKiGFLJRoA\">Pep Love\u003c/a>; the Oakland hip-hop collective also helped her independent label Skyblaze get distribution. She went on to team up with many Bay artists including \u003ca href=\"https://www.youtube.com/watch?v=RHXi7Cr9sIQ\">Mac Mall\u003c/a>, Clyde Carson, and Keak Da Sneak, and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=ksJxJ6TV8do\">Rexx Life Raj\u003c/a>. “I was definitely surrounded by a lot of rappers,” she reminisces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CEKiGFLJRoA\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nShe’s since recorded with national artists like Dwele and West Coast rap legends \u003ca href=\"https://www.youtube.com/watch?v=_PKwYCW7IDc\">Snoop Dogg\u003c/a>, Aceyalone and Planet Asia. But she says she won’t work with just any artist. “My criteria for working with anyone is just that it’s a positive vibe and we mutually want to work together… I’m open to, you know, so many different stories. But when it comes to the music I’m putting out, I just don’t want it to have a negative effect on the culture.”\u003c/p>\n\u003cp>Goapele’s standards for collaboration and her value system reflect both her cultural background and the values of her native region — known for its activists, community-based organizations and political and social discourse in its artistic output and cultural aesthetic.\u003c/p>\n\u003cp>[aside postID='arts_13250203']As the daughter of South African exile Douglas Mohlabane and the sister of Namane Mohlabane — a co-founder of DJ collective Local 1200 — activism came naturally to Goapele. Her father was active in the anti-apartheid movement and a mainstay of a Bay Area South African exile community, while Local 1200 was known not just for their DJ skills, but their support of social justice causes.\u003c/p>\n\u003cp>During the campaign against California’s draconian youth crime bill, \u003ca href=\"https://lao.ca.gov/ballot/2000/21_03_2000.html\">Prop. 21\u003c/a>, Goapele collaborated with singer Kimiko Joy and female emcee Toy for an updated version of Billie Holiday’s “Don’t Explain” that tackled the weighty issue of the criminalization of youth and the prison-industrial complex. The title track of her 2005 major label debut, “\u003ca href=\"https://www.youtube.com/watch?v=ulxiCibEfgc\">Change It All\u003c/a>,” addressed school closures, economic inequality, and the need to do better as a society. In 2006, she was named a Human Rights Cultural Hero by the Ella Baker Center for Human Rights during the nonprofit’s 10th anniversary celebration.\u003c/p>\n\u003cp>While not an overtly political artist who spouts rhetoric and ideology at every opportunity, she’s stayed down and still “got a pound for the cause,” to paraphrase Digital Underground’s Shock G — another of the artists she says inspired her when she was coming up.\u003c/p>\n\u003cfigure id=\"attachment_13932559\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\" alt=\"a Black woman with short hair in a suit poses in front of a display about the Black Power movement\" width=\"729\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249-160x225.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele poses in the Grammy Museum in Los Angeles after a 2012 performance. \u003ccite>(Mark Sullivan/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transformative change and revolutionary content can take many forms — including music that adds something different and compelling to the sonic landscape. At the time of its release, Zion-I’s 2003 album \u003cem>Deep Water Slang V2.0\u003c/em> was dismissed by some critics who had trouble relating to its diverse influences and experimental qualities. Those qualities, however, are precisely what make the album stand out some 20 years later.\u003c/p>\n\u003cp>Goapele contributed vocals to three of the album’s standout tracks — “Flow,” “Sorry” and “Boom Bip.” Producer Amp Live plays around with ambient textures and non-cliched sonic approaches that seemingly expand hip-hop’s reach; meanwhile, Goapele supplies the hooks, reinforcing Zumbi’s conscious manifestos and emotional Zen-states.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gsOQdKhEsFQ\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“So don’t fight the feeling / what we got right here / we ain’t going nowhere / open your mind / what we got right here / we ain’t going nowhere,” she sings on “Boom Bip” — subverting a pimpish credo associated with Too Short and Rappin’ 4-Tay to express a more holistic and spiritually affirming mentality. On “Flow,” the hook places the word “flow,” sung by Goapele, up against a bed of minimal keyboards, upright bass, and Vin Roc’s turntable cuts. Her vocals on “Sorry” are buried deep within a mix of flute, viola, electric piano and cello — all of which contribute to an emotionally resonant song that’s more about feeling than swagger.\u003c/p>\n\u003cp>Despite “Flow” being one of her favorite collaborations, Goapele says can’t quite recall how it came about. “I worked with Zion I off and on for years,” she says. “We even had a studio right next to them at 880 (Studios in Oakland)… Amp just like, had a way of creating things like a puzzle. And sometimes, I would come in there and record an idea over a piece of a song. And by the time I heard it, you know, he had, like, made this whole new arrangement.”\u003c/p>\n\u003cp>[aside postID='forum_2010101889218']Then there was “\u003ca href=\"https://www.youtube.com/watch?v=CEKiGFLJRoA\">The Daze\u003c/a>,” a track from her \u003cem>Even Closer\u003c/em> album featuring Zion I and Casual of Hieroglyphics, which was recorded at Amp’s home studio in El Cerrito.\u003c/p>\n\u003cp>“I was walking into the home studio and Amp had the vibe, you know, already set in. And Steve (Zumbi) was working on his verses. And I was just like, adding whatever I could… I can remember the night that we recorded that just by the raw energy. And it was really just like a couple takes, you know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg\" alt=\"a young Black woman in a white and red dress and black and white sneakers performs onstage at a music festival in Golden Gate Park\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs onstage during the 2008 Outside Lands Festival in San Francisco. \u003ccite>(Jason Merritt/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ten years later, in 2013, Goapele again collaborated with Zion I on the sublime hip-hop love song, “Life’s Work” — which eschews playerisms in favor of committed monogamy. Zumbi’s love-affirming testimonials contrast beautifully with Goapele’s romantic vocals, and it’s difficult to imagine the song working as well without her contribution.\u003c/p>\n\u003cp>Goapele’s association with Hieroglyphics also spanned many projects. She’s made songs with Pep Love, Casual and A-Plus, along with the single and video, “Soweto,” which features the entire crew. She remembers Hiero had rented a house with a home studio in Venice Beach, and A-Plus asked her to drop some vocals on a track he was working on. “The guitar was just giving me African highlife vibes,” and the song’s hook, she says, was “just what I was feeling like, no matter where you go. We’re the same. We have the same story.”\u003c/p>\n\u003cp>The video, she recalls, was shot in Joshua Tree National Park on one of the hottest days of the year — the temperature reached 120 Fahrenheit. “I almost did not make it through that video, but the video ended up being beautiful.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XJHtCG5wqYs\u003c/p>\n\u003ch2>The Motherland and the Bay\u003c/h2>\n\u003cp>One of Goapele’s more interesting collaborations came about in 2010, when she worked with South African emcee Hip Hop Pantsula for “\u003ca href=\"https://www.youtube.com/watch?v=IpEPNCz98_c\">Victory\u003c/a>,” a song recorded in English, Setswana, and Xhosa, which drew attention to humanitarian efforts in South Africa and the African Diaspora. Pantsula, she says, “was incredibly talented, and I want to say kind of spearheaded or was big in the Motswako movement, which was a South African/SWANA hip-hop scene.”\u003c/p>\n\u003cp>Pantsula, aka Double HP, who joined the ancestors in 2018, was hailed as a “musical icon” by the African National Congress. Goapele remembers being in South Africa and seeing some of his concerts.\u003c/p>\n\u003cp>“There was a lot of rapping in Setswana and English… But the song “Victory,” it was just so exciting that the World Cup was in South Africa. I definitely was feeling a sense of pride even from afar. And I went out there to perform at the MAMA Awards. It was like an MTV Africa show, and they flew me out there along with The Game, and Clyde Carson from the Bay, who I also worked with on a bunch of other songs.”\u003c/p>\n\u003cfigure id=\"attachment_13932534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932534 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg\" alt=\"a Black woman with braids smiles holding a microphone on stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to draw a comparison between South African and Bay Area hip-hop, she says, “There wasn’t a huge music industry in the Bay Area. There’s a lot of labels in South Africa, but I feel like people have really had to create their thing from the ground up. And so there’s like maybe an organic feel to it and an edge and a soulfulness that it has.”\u003c/p>\n\u003cp>She recalls listening to the South African band Shava, who sing in her native tongue of Setswana. “The production was just so beautiful and vibey. The drums are always a little behind the beat. There’s similar production and feels that I think probably come out of a context of influences, like the culture just being soulful and raw and there’s definitely a spirit of resistance, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IpEPNCz98_c\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“But in South Africa, it’s the triumph and struggle that’s still there. Like, my dad had to leave because of the apartheid system and, in the nineties, so much turmoil and turnover in leadership. Equality is something that’s still trying to come about. There’s so much economic disparity. People were pushed out to almost like, reservations … I came out of that.”\u003c/p>\n\u003cp>That struggle has bred not just resistance, but cultural resilience. “There’s so much depth and raw talent that has come back, persevered through that. So there’s something to be said for that. How that affects the sound and the vibe.”\u003c/p>\n\u003cp>In other words, in some ways, South Africa is exactly like the Bay Area. But in other ways, it’s completely different. Goapele remains connected to both places and cultures. It’s who she is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Oakland-raised singer reflects on Bay Area hip-hop's abiding influence.","status":"publish","parent":0,"modified":1705005197,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":2598},"headData":{"title":"Goapele: Closer to Hip-Hop Than You Knew | KQED","description":"The Oakland-raised singer reflects on Bay Area hip-hop's abiding influence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Goapele: Closer to Hip-Hop Than You Knew","datePublished":"2023-08-02T20:29:27.000Z","dateModified":"2024-01-11T20:33:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932465/goapele-closer-to-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>Goapele has never been a typical R&B singer. From the start of her career in the late ’90s, the Oakland-born vocalist has defied categorization. Her breakthrough 2001 single “Closer” arrived amidst a landscape of slickly produced, radio-friendly R&B, hip-hop/soul hybrids, and then-trendy neo-soul. Produced by Amp Live of hip-hop duo Zion I, with keyboards by Mike Tiger, “Closer” broke the mold with its warm, organic sound and inspirational, near-universal message of moving closer to one’s dream.\u003c/p>\n\u003cp>The song quickly became a Bay Area staple, landing in KMEL rotation — a rarity for an independently released R&B song. Before long, “Closer” entered the station’s nightly “7 at 7” countdown, and began moving up in the rankings.\u003c/p>\n\u003cp>“There was one point where they were going down the list, and 50 Cent was number two,” the singer recalls today. “And I was like, damn, I was bumped off the list. And then it got to number one and I was so happy.”\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/Tb9fkGCCV1o'\n title='//www.youtube.com/embed/Tb9fkGCCV1o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThat moment literally moved Goapele closer to her dreams. “It was just so affirming for my city to embrace what I was doing, and music that was so close to my heart, and music that I didn’t know what genre it fit into.” It was also a validation of the Bay’s independent spirit, rather than “emanating something that’s already out there,” she says.\u003c/p>\n\u003cp>“Closer” became an anthem for people achieving a goal or moving forward in life. “I’ve sung it at a lot of colleges over the years. I’ve sung at weddings. I’ve ran into a lot of people that said it was their high school graduation song,” the singer recalls. The song has been embraced by rappers and singers alike, including Drake, YG, Kendrick Lamar and Chris Brown, as well as countless freestyle and mix-tape emcees. “I’m really grateful that it has stood the test of time and resonated with people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>She attributes this phenomenon to “how the drums hit” and how Tiger’s chord progression “just gives a certain feeling of like, upliftment and frustration at the same time that I think so many of us relate to.” People also relate to its central theme of “striving to get to the next level. And it can feel like a struggle sometimes even in the midst of glimpses of, you know, success.”\u003c/p>\n\u003cp>The song remains a staple of Goapele’s live sets, even though she’s recorded plenty of new music in the 20-plus years since “Closer”’s release. She admits there was a time when she was over it, and wanted to focus on fresh material. But then she realized, “people in the audience really wanted to hear it. And I just, I had to take a step back and think about my favorite artists. Like, I love a lot of their old music. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg\" alt=\"a young Black woman in a black flowy top performs while smiling at a microphone\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1536x1268.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-2048x1691.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1920x1585.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at S.O.B.’s in New York City in 2003. \u003ccite>(ohnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s 2001 album of the same name sold approximately 65,000 units on consignment, launching her as a viable new artist with a strong following. Since then, the singer has released four full-length albums and an EP, numerous music videos and a lifestyle brand (Dreamseekers) while performing live all over the world. She’s carved out a lane as a true original, never following current trends, yet always relevant, as her range has expanded from soulful, slow-tempo ballads to pulse-pounding club jams.\u003c/p>\n\u003cp>Shortly after her live performance at the inaugural Days with Zahra festival in Napa — as she readies herself for the release of another album, titled \u003cem>Colors\u003c/em> — she reflected on her long association with Bay Area hip-hop.\u003c/p>\n\u003ch2>An agent for social change\u003c/h2>\n\u003cp>As it turns out, Bay Area hip-hop was an important part of Goapele’s experience growing up, one that shaped her path as an artist. The first local rapper she recalls listening to was MC Hammer, when she was in junior high school, followed by Hieroglyphics. By the time she got to high school, she says, “for me it was all about underground hip-hop.”\u003c/p>\n\u003cp>Early in her career, she sang over hip-hop instrumentals at local spots like Mingles and La Peña. “My brother was a DJ. And so, you know, dub plates were popular.” A dub plate-style version sung over the remix of Supercat’s “Dolly My Baby” turned into one of her first singles, “Childhood Drama” — which she recently sung live in Jamaica with DJ Shortkut after not performing it in years.\u003c/p>\n\u003cp>Goapele’s first local rap collaborations were with Zion I, \u003ca href=\"https://youtu.be/Y1oB29QockI\">E-40\u003c/a>, and Hieroglyphics members A-Plus, Casual, and \u003ca href=\"https://youtu.be/CEKiGFLJRoA\">Pep Love\u003c/a>; the Oakland hip-hop collective also helped her independent label Skyblaze get distribution. She went on to team up with many Bay artists including \u003ca href=\"https://www.youtube.com/watch?v=RHXi7Cr9sIQ\">Mac Mall\u003c/a>, Clyde Carson, and Keak Da Sneak, and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=ksJxJ6TV8do\">Rexx Life Raj\u003c/a>. “I was definitely surrounded by a lot of rappers,” she reminisces.\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/CEKiGFLJRoA'\n title='//www.youtube.com/embed/CEKiGFLJRoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nShe’s since recorded with national artists like Dwele and West Coast rap legends \u003ca href=\"https://www.youtube.com/watch?v=_PKwYCW7IDc\">Snoop Dogg\u003c/a>, Aceyalone and Planet Asia. But she says she won’t work with just any artist. “My criteria for working with anyone is just that it’s a positive vibe and we mutually want to work together… I’m open to, you know, so many different stories. But when it comes to the music I’m putting out, I just don’t want it to have a negative effect on the culture.”\u003c/p>\n\u003cp>Goapele’s standards for collaboration and her value system reflect both her cultural background and the values of her native region — known for its activists, community-based organizations and political and social discourse in its artistic output and cultural aesthetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13250203","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As the daughter of South African exile Douglas Mohlabane and the sister of Namane Mohlabane — a co-founder of DJ collective Local 1200 — activism came naturally to Goapele. Her father was active in the anti-apartheid movement and a mainstay of a Bay Area South African exile community, while Local 1200 was known not just for their DJ skills, but their support of social justice causes.\u003c/p>\n\u003cp>During the campaign against California’s draconian youth crime bill, \u003ca href=\"https://lao.ca.gov/ballot/2000/21_03_2000.html\">Prop. 21\u003c/a>, Goapele collaborated with singer Kimiko Joy and female emcee Toy for an updated version of Billie Holiday’s “Don’t Explain” that tackled the weighty issue of the criminalization of youth and the prison-industrial complex. The title track of her 2005 major label debut, “\u003ca href=\"https://www.youtube.com/watch?v=ulxiCibEfgc\">Change It All\u003c/a>,” addressed school closures, economic inequality, and the need to do better as a society. In 2006, she was named a Human Rights Cultural Hero by the Ella Baker Center for Human Rights during the nonprofit’s 10th anniversary celebration.\u003c/p>\n\u003cp>While not an overtly political artist who spouts rhetoric and ideology at every opportunity, she’s stayed down and still “got a pound for the cause,” to paraphrase Digital Underground’s Shock G — another of the artists she says inspired her when she was coming up.\u003c/p>\n\u003cfigure id=\"attachment_13932559\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\" alt=\"a Black woman with short hair in a suit poses in front of a display about the Black Power movement\" width=\"729\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249-160x225.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele poses in the Grammy Museum in Los Angeles after a 2012 performance. \u003ccite>(Mark Sullivan/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transformative change and revolutionary content can take many forms — including music that adds something different and compelling to the sonic landscape. At the time of its release, Zion-I’s 2003 album \u003cem>Deep Water Slang V2.0\u003c/em> was dismissed by some critics who had trouble relating to its diverse influences and experimental qualities. Those qualities, however, are precisely what make the album stand out some 20 years later.\u003c/p>\n\u003cp>Goapele contributed vocals to three of the album’s standout tracks — “Flow,” “Sorry” and “Boom Bip.” Producer Amp Live plays around with ambient textures and non-cliched sonic approaches that seemingly expand hip-hop’s reach; meanwhile, Goapele supplies the hooks, reinforcing Zumbi’s conscious manifestos and emotional Zen-states.\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/gsOQdKhEsFQ'\n title='//www.youtube.com/embed/gsOQdKhEsFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“So don’t fight the feeling / what we got right here / we ain’t going nowhere / open your mind / what we got right here / we ain’t going nowhere,” she sings on “Boom Bip” — subverting a pimpish credo associated with Too Short and Rappin’ 4-Tay to express a more holistic and spiritually affirming mentality. On “Flow,” the hook places the word “flow,” sung by Goapele, up against a bed of minimal keyboards, upright bass, and Vin Roc’s turntable cuts. Her vocals on “Sorry” are buried deep within a mix of flute, viola, electric piano and cello — all of which contribute to an emotionally resonant song that’s more about feeling than swagger.\u003c/p>\n\u003cp>Despite “Flow” being one of her favorite collaborations, Goapele says can’t quite recall how it came about. “I worked with Zion I off and on for years,” she says. “We even had a studio right next to them at 880 (Studios in Oakland)… Amp just like, had a way of creating things like a puzzle. And sometimes, I would come in there and record an idea over a piece of a song. And by the time I heard it, you know, he had, like, made this whole new arrangement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101889218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Then there was “\u003ca href=\"https://www.youtube.com/watch?v=CEKiGFLJRoA\">The Daze\u003c/a>,” a track from her \u003cem>Even Closer\u003c/em> album featuring Zion I and Casual of Hieroglyphics, which was recorded at Amp’s home studio in El Cerrito.\u003c/p>\n\u003cp>“I was walking into the home studio and Amp had the vibe, you know, already set in. And Steve (Zumbi) was working on his verses. And I was just like, adding whatever I could… I can remember the night that we recorded that just by the raw energy. And it was really just like a couple takes, you know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg\" alt=\"a young Black woman in a white and red dress and black and white sneakers performs onstage at a music festival in Golden Gate Park\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs onstage during the 2008 Outside Lands Festival in San Francisco. \u003ccite>(Jason Merritt/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ten years later, in 2013, Goapele again collaborated with Zion I on the sublime hip-hop love song, “Life’s Work” — which eschews playerisms in favor of committed monogamy. Zumbi’s love-affirming testimonials contrast beautifully with Goapele’s romantic vocals, and it’s difficult to imagine the song working as well without her contribution.\u003c/p>\n\u003cp>Goapele’s association with Hieroglyphics also spanned many projects. She’s made songs with Pep Love, Casual and A-Plus, along with the single and video, “Soweto,” which features the entire crew. She remembers Hiero had rented a house with a home studio in Venice Beach, and A-Plus asked her to drop some vocals on a track he was working on. “The guitar was just giving me African highlife vibes,” and the song’s hook, she says, was “just what I was feeling like, no matter where you go. We’re the same. We have the same story.”\u003c/p>\n\u003cp>The video, she recalls, was shot in Joshua Tree National Park on one of the hottest days of the year — the temperature reached 120 Fahrenheit. “I almost did not make it through that video, but the video ended up being beautiful.”\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/XJHtCG5wqYs'\n title='//www.youtube.com/embed/XJHtCG5wqYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Motherland and the Bay\u003c/h2>\n\u003cp>One of Goapele’s more interesting collaborations came about in 2010, when she worked with South African emcee Hip Hop Pantsula for “\u003ca href=\"https://www.youtube.com/watch?v=IpEPNCz98_c\">Victory\u003c/a>,” a song recorded in English, Setswana, and Xhosa, which drew attention to humanitarian efforts in South Africa and the African Diaspora. Pantsula, she says, “was incredibly talented, and I want to say kind of spearheaded or was big in the Motswako movement, which was a South African/SWANA hip-hop scene.”\u003c/p>\n\u003cp>Pantsula, aka Double HP, who joined the ancestors in 2018, was hailed as a “musical icon” by the African National Congress. Goapele remembers being in South Africa and seeing some of his concerts.\u003c/p>\n\u003cp>“There was a lot of rapping in Setswana and English… But the song “Victory,” it was just so exciting that the World Cup was in South Africa. I definitely was feeling a sense of pride even from afar. And I went out there to perform at the MAMA Awards. It was like an MTV Africa show, and they flew me out there along with The Game, and Clyde Carson from the Bay, who I also worked with on a bunch of other songs.”\u003c/p>\n\u003cfigure id=\"attachment_13932534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932534 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg\" alt=\"a Black woman with braids smiles holding a microphone on stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to draw a comparison between South African and Bay Area hip-hop, she says, “There wasn’t a huge music industry in the Bay Area. There’s a lot of labels in South Africa, but I feel like people have really had to create their thing from the ground up. And so there’s like maybe an organic feel to it and an edge and a soulfulness that it has.”\u003c/p>\n\u003cp>She recalls listening to the South African band Shava, who sing in her native tongue of Setswana. “The production was just so beautiful and vibey. The drums are always a little behind the beat. There’s similar production and feels that I think probably come out of a context of influences, like the culture just being soulful and raw and there’s definitely a spirit of resistance, you know?\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/IpEPNCz98_c'\n title='//www.youtube.com/embed/IpEPNCz98_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“But in South Africa, it’s the triumph and struggle that’s still there. Like, my dad had to leave because of the apartheid system and, in the nineties, so much turmoil and turnover in leadership. Equality is something that’s still trying to come about. There’s so much economic disparity. People were pushed out to almost like, reservations … I came out of that.”\u003c/p>\n\u003cp>That struggle has bred not just resistance, but cultural resilience. “There’s so much depth and raw talent that has come back, persevered through that. So there’s something to be said for that. How that affects the sound and the vibe.”\u003c/p>\n\u003cp>In other words, in some ways, South Africa is exactly like the Bay Area. But in other ways, it’s completely different. Goapele remains connected to both places and cultures. It’s who she is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932465/goapele-closer-to-hip-hop","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_1828","arts_2284","arts_3539","arts_19347","arts_15217","arts_15215"],"featImg":"arts_13932536","label":"source_arts_13932465"},"arts_13932471":{"type":"posts","id":"arts_13932471","meta":{"index":"posts_1591205157","site":"arts","id":"13932471","score":null,"sort":[1690912788000]},"guestAuthors":[],"slug":"souls-of-mischief-freestyle-93-til-infinity","title":"Watch Souls of Mischief Freestyle All-New Verses For '93 Til Infinity'","publishDate":1690912788,"format":"video","headTitle":"Watch Souls of Mischief Freestyle All-New Verses For ’93 Til Infinity’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Souls of Mischief are having a big year: it’s the 30th anniversary of their debut album \u003cem>’93 Til Infinity\u003c/em>, and they’re on a transatlantic tour that lands at the \u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Great American Music Hall on Aug. 14\u003c/a> — just weeks before their annual Oakland block party \u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a> on Sept. 4.\u003c/p>\n\u003cp>Today, the mighty Souls of Mischief dropped a new version of “’93 Til Infinity” with members freestyling all-new verses live, in one take, for Red Bull Music’s Spiral cypher series. Take some Dramamine, listen for name-drops of Steph Curry and \u003cem>Poltergeist\u003c/em>, and watch above.\u003c/p>\n\u003cp>\u003cem>For more \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, see our year-long exploration of Bay Area hip-hop history \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'93 Til Infinity' gets a fresh update for its 30th anniversary by the long-running Oakland crew.","status":"publish","parent":0,"modified":1705005206,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":130},"headData":{"title":"Watch Souls of Mischief Freestyle All-New Verses For '93 Til Infinity' | KQED","description":"'93 Til Infinity' gets a fresh update for its 30th anniversary by the long-running Oakland crew.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch Souls of Mischief Freestyle All-New Verses For '93 Til Infinity'","datePublished":"2023-08-01T17:59:48.000Z","dateModified":"2024-01-11T20:33:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=mwigFJ91kig","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932471/souls-of-mischief-freestyle-93-til-infinity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Souls of Mischief are having a big year: it’s the 30th anniversary of their debut album \u003cem>’93 Til Infinity\u003c/em>, and they’re on a transatlantic tour that lands at the \u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Great American Music Hall on Aug. 14\u003c/a> — just weeks before their annual Oakland block party \u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a> on Sept. 4.\u003c/p>\n\u003cp>Today, the mighty Souls of Mischief dropped a new version of “’93 Til Infinity” with members freestyling all-new verses live, in one take, for Red Bull Music’s Spiral cypher series. Take some Dramamine, listen for name-drops of Steph Curry and \u003cem>Poltergeist\u003c/em>, and watch above.\u003c/p>\n\u003cp>\u003cem>For more \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, see our year-long exploration of Bay Area hip-hop history \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>. \u003c/em>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932471/souls-of-mischief-freestyle-93-til-infinity","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_2284","arts_831","arts_5365"],"featImg":"arts_13932473","label":"arts"},"arts_13927692":{"type":"posts","id":"arts_13927692","meta":{"index":"posts_1591205157","site":"arts","id":"13927692","score":null,"sort":[1681326623000]},"guestAuthors":[],"slug":"del-funky-homosapien-no-need-for-alarm-30-years-anniversary","title":"Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later","publishDate":1681326623,"format":"aside","headTitle":"Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13927684\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DEL.GIF.Horiz_.USE_.gif\" alt=\"a record cover cycles in and out of the background where its original cover photo was shot, showing a pagoda and victorian houses\" width=\"792\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Released Nov. 23, 1993, Del the Funky Homosapien’s ‘No Need for Alarm’ is shown at the original location of its cover photo, in Chinese Garden Park at Alice and 7th Streets in Oakland. \u003ccite>(Photos by Beth LaBerge/KQED; animation by Bryan Bindloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Del the Funky Homosapien’s sophomore album \u003c/em>No Need For Alarm\u003cem> is a Bay Area classic that proved his uncompromising skill and helped establish the Hieroglyphics collective nationally as a creative force. Here, from an interview condensed for length and clarity, Del, a.k.a. Teren Delvon Jones, recalls the circumstances of the album’s recording, artwork and reception.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>As told to\u003c/strong>: Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was making \u003cem>No Need for Alarm\u003c/em>, I was in a dark space. I had a lot of issues growing up. I don’t think I was aware of it then, but looking back, I was in an angsty space. I was dealing with issues of abuse, being different from everybody, pretty much being a loner except for people that was into the culture I was, which was not that many. I appreciated the camaraderie that I had, too, don’t get me wrong. But yeah, I had an attitude.\u003c/p>\n\u003cp>I had come out with my first album, \u003cem>I Wish My Brother George Was Here\u003c/em>, which I made with Ice Cube — he’s my cousin. And the response from a lot of heads was not at all what I expected. It wasn’t celebratory. It was more like, “OK, you’re selling out. Why’re you rappin’ over P-Funk shit?” So, that caused me to be, like, “All right, I’m just going all in this time, just to show motherfuckers what I really be on.”\u003c/p>\n\u003cp>And I think that hurt Cube — I think he was like, “OK, well, damn, you didn’t like the first album?” I’m like, “Nah, nah, I like it, but, you know…” It was just that, from my little social network, I wasn’t getting the love that I thought I was going to get. It was the opposite. Because motherfuckers already done heard all my demos and shit. They knew how wild I could get.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s what I did for \u003cem>No Need for Alarm\u003c/em>. I’m a battle rapper by nature. That’s what I really do. It was limited on the first album. And that was probably a wise decision, because a lot of people can’t understand that shit.\u003c/p>\n\u003cp>I was in transition. I was couch-surfing for a minute, living with different people, roommating. In ’93, I ended up living in New York mixing the album, doing whatever I needed to do for the album, so I had a little flat in New York that I was staying out of.\u003c/p>\n\u003cp>[aside postID='arts_13923766']Before mixing in New York, though, we recorded at Hyde Street Studios in San Francisco, with Matt Kelly. Matt Kelly is one of my mentors. He really showed me how to mix, he showed me how to be able to listen to the mix, how to work the equipment in the studio. When I had questions, he would answer my questions and really fuck with me. He took me under his wing and showed me a lot.\u003c/p>\n\u003cp>Some people write in the studio. We were more self-reliant — we had songs done before we even hit the studio. Nine times out of 10 when we hit the studio, we’re there to record the shit and get it done.\u003c/p>\n\u003cp>Our time outside the studio, though, that would be when we were smoking and drinking, making beats, selecting shit. Motherfuckers might bring records over, I’d be like, “Ooh, what’s this?” Be like, “Ooh, okay. We’ll use that real quick.” I might be at Opio’s house with A-Plus, Tajai might be there, we might be listening to records. His stepfather had a great collection of records, so we’d just be in his office, listening to records, getting ideas, maybe watching anime or something, playing video games.\u003c/p>\n\u003cfigure id=\"attachment_13927690\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg\" alt=\"a young man in a superman t-shirt smokes in a park\" width=\"600\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Del: ‘One of my favorite songs from around that time, ‘Pistol Whippers,’ it didn’t even make the album. I was proud of the production on that one. I just thought that beat was hella crazy.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album came out and Elektra Records loved it. I don’t know if Cube loved it, but Elektra was fully supportive. And Dante Ross was my dog over there — he’s part of the culture, so he felt it. I was with Sophia Chang too, she was A&R over at Jive Records, and got Souls of Mischief and Casual on the label there. She ended up leaving, but I still was good friends with her. So when I was in New York, I would never be at my little flat. A lot of the time I’d either be at Dante’s crib, or Sophia’s crib, or over at Kurious Jorge’s crib.\u003c/p>\n\u003cp>I appreciated their friendship and the encouragement, because like I said, I was in a dark place. I don’t even think I really believed in my shit like that, but Sophia and Dante really backed it, especially Sophia. I appreciated her taste because she fucked with Wu-Tang, she knew what was up. So it was big for her to be like, “Nah, this really is tight. Go forward.” Even when Cube was like, “Whatever, man, if you wanna do what you wanna to do, go ahead.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=spcKBTfjW1M\u003c/p>\n\u003cp>I will say this, there’s some things I said about women on that album that I’m not too proud of. I was a kid, but no excuses. I said some shit about white people on there that I’m not too proud of. I don’t really feel like that. Like I said, I have my issues — and, I’m Black, growing up in that era, so it was different. I think people that heard it understood where I was coming from, too, because I wasn’t trying to be malicious, necessarily. I was just letting it spill out, whatever the fuck it was.\u003c/p>\n\u003cp>Oakland had crack going on and the high murder rate, which affected me, but I didn’t wanna rap about that shit. For me, hip-hop was like how it was for motherfuckers in the Bronx, like Ultramagnetic MCs. I done talked to Kool Keith, and he was like, “You might come home and see a hand in the mailbox, or your next-door neighbor might have a gorilla in this house.” Just wild shit. Because if you’ve got dope money, you might be trying to floss, maybe you might get a tiger.\u003c/p>\n\u003cp>But Ultramag, they’re trying to escape that shit. They’re like, “Man, why I wanna rap about gangster shit? I don’t wanna rap about that shit.” So, that’s how I was. It did affect me, but hip-hop gave me a vehicle to escape it.\u003c/p>\n\u003cfigure id=\"attachment_13927688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg\" alt=\"a red pagoda in a park, with victorian houses in the background\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pagoda at Chinese Garden Park in Oakland, where the ‘No Need for Alarm’ cover photo was shot. Photographer Carl Posey recalls of the location: “The idea was to take people out of their typical element, and try something different.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album cover was shot by Carl Posey. The pagoda, you know, I love all kind of different cultures, and that just spoke to me, the structure and how it looked. Maybe since I was into anime and shit, martial arts, that might’ve had a slight thing to do with it too. But I just like Chinatown too, you feel me?\u003c/p>\n\u003cp>[aside postID='arts_13924167']We shot at the pagoda, then I picked this other spot that’s an underpass over by Lake Merritt, by the college. These are places that I liked to go to at night, because I was like, a street kid. I might not have had a place to go sometimes, so I’d just be out at night, tripping or whatever, in some of the places that I like to be at.\u003c/p>\n\u003cp>We did a comic book design for the cover. That was my idea. I was into Marvel and DC, but I was also heavy into underground comics. Vaughn Bodē, Mark Bodē, \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, all that shit was starting to come out and really bust the bubble. I did the lettering too. I’m a visual artist first and foremost, so I already had an artistic vision. Elektra was just gracious enough to let me go with it.\u003c/p>\n\u003cfigure id=\"attachment_13927691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg\" alt=\"a man in a bucket hat sitting in a concrete culvert holds his hands out toward the camera\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien in Oakland, in 1993, in a publicity photo for ‘No Need for Alarm.’ ‘I think, looking back, Cube feels like, ‘Okay, you really did your thing. You didn’t try to ride my coattails. You did your thing and you became successful for that.’ I think he respects that now.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Man, I wish I still had that boombox I’m holding on the cover. I’d be playing all the classics on it. I was a huge Gang Starr fan. Ultramag, Erick Sermon, Jungle Brothers, De La, KMD, Brand Nubian. I also might be fucking with some dub, too, some King Tubby or Scratch Perry. I’d listen to dancehall too, and a bit of punk rock, like Black Flag.\u003c/p>\n\u003cp>I was 20 when I recorded \u003cem>No Need for Alarm\u003c/em>. I’m 50 now. I don’t feel 50, because I don’t drive. I skate everywhere. In certain ways I feel my age because of some of the injuries I’ve had, like when I was with the Gorillaz, I had a real bad injury, fell off the stage, damn near killed myself. But I don’t feel like I look hella old, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hip-hop is 50 now, too, and it’s gotten to the point where it’s so far removed from where it was. The essence of it is so far removed from where kids is at now. I’m not saying that don’t nobody care about it, because a lot of kids do care about it, and they try to research the shit and figure it out. It speaks to them. But it’s been commercialized to the point where it’s been milked down by corporate society, motherfuckers feasting on shit, just wearing it into the ground. That’s the sad situation of it.\u003c/p>\n\u003cp>I’m not trying to sound hella dark or nothing, because I do got a lot of hope in the shit. There’s been new movements within hip-hop that took it somewhere else, that maybe a lot of old heads might not really fuck with. But I feel, overall, just the corporate rule, always, that’s what it is — “We trying to make money off this.” Ain’t really no concern about the culture or people.\u003c/p>\n\u003cp>As for \u003cem>No Need for Alarm\u003c/em>, I’m just glad people still fuck with it, 30 years later. One love to all the supporters and all the fans. I love you all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Del the Funky Homosapien tells all about recording, being 'in a dark space,' and rapping as an escape.","status":"publish","parent":0,"modified":1705005631,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":2037},"headData":{"title":"Del the Funky Homosapien Looks Back on 'No Need for Alarm,' 30 Years Later | KQED","description":"Del the Funky Homosapien tells all about recording 'No Need for Alarm,' being 'in a dark space,' and rapping as an escape.","ogTitle":"How I Recorded ‘No Need for Alarm’ While Couchsurfing 30 Years Ago","ogDescription":"Del the Funky Homosapien tells all about recording, being 'in a dark space,' and rapping as an escape.","ogImgId":"arts_13927697","twTitle":"How I Recorded ‘No Need for Alarm’ While Couchsurfing 30 Years Ago","twDescription":"Del the Funky Homosapien tells all about recording, being 'in a dark space,' and rapping as an escape.","twImgId":"arts_13927697","socialTitle":"Del the Funky Homosapien Looks Back on 'No Need for Alarm,' 30 Years Later %%page%% %%sep%% KQED","socialDescription":"Del the Funky Homosapien tells all about recording 'No Need for Alarm,' being 'in a dark space,' and rapping as an escape.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later","datePublished":"2023-04-12T19:10:23.000Z","dateModified":"2024-01-11T20:40:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"nprByline":"Del the Funky Homosapien","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927684\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DEL.GIF.Horiz_.USE_.gif\" alt=\"a record cover cycles in and out of the background where its original cover photo was shot, showing a pagoda and victorian houses\" width=\"792\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Released Nov. 23, 1993, Del the Funky Homosapien’s ‘No Need for Alarm’ is shown at the original location of its cover photo, in Chinese Garden Park at Alice and 7th Streets in Oakland. \u003ccite>(Photos by Beth LaBerge/KQED; animation by Bryan Bindloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Del the Funky Homosapien’s sophomore album \u003c/em>No Need For Alarm\u003cem> is a Bay Area classic that proved his uncompromising skill and helped establish the Hieroglyphics collective nationally as a creative force. Here, from an interview condensed for length and clarity, Del, a.k.a. Teren Delvon Jones, recalls the circumstances of the album’s recording, artwork and reception.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>As told to\u003c/strong>: Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was making \u003cem>No Need for Alarm\u003c/em>, I was in a dark space. I had a lot of issues growing up. I don’t think I was aware of it then, but looking back, I was in an angsty space. I was dealing with issues of abuse, being different from everybody, pretty much being a loner except for people that was into the culture I was, which was not that many. I appreciated the camaraderie that I had, too, don’t get me wrong. But yeah, I had an attitude.\u003c/p>\n\u003cp>I had come out with my first album, \u003cem>I Wish My Brother George Was Here\u003c/em>, which I made with Ice Cube — he’s my cousin. And the response from a lot of heads was not at all what I expected. It wasn’t celebratory. It was more like, “OK, you’re selling out. Why’re you rappin’ over P-Funk shit?” So, that caused me to be, like, “All right, I’m just going all in this time, just to show motherfuckers what I really be on.”\u003c/p>\n\u003cp>And I think that hurt Cube — I think he was like, “OK, well, damn, you didn’t like the first album?” I’m like, “Nah, nah, I like it, but, you know…” It was just that, from my little social network, I wasn’t getting the love that I thought I was going to get. It was the opposite. Because motherfuckers already done heard all my demos and shit. They knew how wild I could get.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s what I did for \u003cem>No Need for Alarm\u003c/em>. I’m a battle rapper by nature. That’s what I really do. It was limited on the first album. And that was probably a wise decision, because a lot of people can’t understand that shit.\u003c/p>\n\u003cp>I was in transition. I was couch-surfing for a minute, living with different people, roommating. In ’93, I ended up living in New York mixing the album, doing whatever I needed to do for the album, so I had a little flat in New York that I was staying out of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923766","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Before mixing in New York, though, we recorded at Hyde Street Studios in San Francisco, with Matt Kelly. Matt Kelly is one of my mentors. He really showed me how to mix, he showed me how to be able to listen to the mix, how to work the equipment in the studio. When I had questions, he would answer my questions and really fuck with me. He took me under his wing and showed me a lot.\u003c/p>\n\u003cp>Some people write in the studio. We were more self-reliant — we had songs done before we even hit the studio. Nine times out of 10 when we hit the studio, we’re there to record the shit and get it done.\u003c/p>\n\u003cp>Our time outside the studio, though, that would be when we were smoking and drinking, making beats, selecting shit. Motherfuckers might bring records over, I’d be like, “Ooh, what’s this?” Be like, “Ooh, okay. We’ll use that real quick.” I might be at Opio’s house with A-Plus, Tajai might be there, we might be listening to records. His stepfather had a great collection of records, so we’d just be in his office, listening to records, getting ideas, maybe watching anime or something, playing video games.\u003c/p>\n\u003cfigure id=\"attachment_13927690\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg\" alt=\"a young man in a superman t-shirt smokes in a park\" width=\"600\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Del: ‘One of my favorite songs from around that time, ‘Pistol Whippers,’ it didn’t even make the album. I was proud of the production on that one. I just thought that beat was hella crazy.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album came out and Elektra Records loved it. I don’t know if Cube loved it, but Elektra was fully supportive. And Dante Ross was my dog over there — he’s part of the culture, so he felt it. I was with Sophia Chang too, she was A&R over at Jive Records, and got Souls of Mischief and Casual on the label there. She ended up leaving, but I still was good friends with her. So when I was in New York, I would never be at my little flat. A lot of the time I’d either be at Dante’s crib, or Sophia’s crib, or over at Kurious Jorge’s crib.\u003c/p>\n\u003cp>I appreciated their friendship and the encouragement, because like I said, I was in a dark place. I don’t even think I really believed in my shit like that, but Sophia and Dante really backed it, especially Sophia. I appreciated her taste because she fucked with Wu-Tang, she knew what was up. So it was big for her to be like, “Nah, this really is tight. Go forward.” Even when Cube was like, “Whatever, man, if you wanna do what you wanna to do, go ahead.”\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/spcKBTfjW1M'\n title='//www.youtube.com/embed/spcKBTfjW1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I will say this, there’s some things I said about women on that album that I’m not too proud of. I was a kid, but no excuses. I said some shit about white people on there that I’m not too proud of. I don’t really feel like that. Like I said, I have my issues — and, I’m Black, growing up in that era, so it was different. I think people that heard it understood where I was coming from, too, because I wasn’t trying to be malicious, necessarily. I was just letting it spill out, whatever the fuck it was.\u003c/p>\n\u003cp>Oakland had crack going on and the high murder rate, which affected me, but I didn’t wanna rap about that shit. For me, hip-hop was like how it was for motherfuckers in the Bronx, like Ultramagnetic MCs. I done talked to Kool Keith, and he was like, “You might come home and see a hand in the mailbox, or your next-door neighbor might have a gorilla in this house.” Just wild shit. Because if you’ve got dope money, you might be trying to floss, maybe you might get a tiger.\u003c/p>\n\u003cp>But Ultramag, they’re trying to escape that shit. They’re like, “Man, why I wanna rap about gangster shit? I don’t wanna rap about that shit.” So, that’s how I was. It did affect me, but hip-hop gave me a vehicle to escape it.\u003c/p>\n\u003cfigure id=\"attachment_13927688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg\" alt=\"a red pagoda in a park, with victorian houses in the background\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pagoda at Chinese Garden Park in Oakland, where the ‘No Need for Alarm’ cover photo was shot. Photographer Carl Posey recalls of the location: “The idea was to take people out of their typical element, and try something different.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album cover was shot by Carl Posey. The pagoda, you know, I love all kind of different cultures, and that just spoke to me, the structure and how it looked. Maybe since I was into anime and shit, martial arts, that might’ve had a slight thing to do with it too. But I just like Chinatown too, you feel me?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924167","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We shot at the pagoda, then I picked this other spot that’s an underpass over by Lake Merritt, by the college. These are places that I liked to go to at night, because I was like, a street kid. I might not have had a place to go sometimes, so I’d just be out at night, tripping or whatever, in some of the places that I like to be at.\u003c/p>\n\u003cp>We did a comic book design for the cover. That was my idea. I was into Marvel and DC, but I was also heavy into underground comics. Vaughn Bodē, Mark Bodē, \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, all that shit was starting to come out and really bust the bubble. I did the lettering too. I’m a visual artist first and foremost, so I already had an artistic vision. Elektra was just gracious enough to let me go with it.\u003c/p>\n\u003cfigure id=\"attachment_13927691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg\" alt=\"a man in a bucket hat sitting in a concrete culvert holds his hands out toward the camera\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien in Oakland, in 1993, in a publicity photo for ‘No Need for Alarm.’ ‘I think, looking back, Cube feels like, ‘Okay, you really did your thing. You didn’t try to ride my coattails. You did your thing and you became successful for that.’ I think he respects that now.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Man, I wish I still had that boombox I’m holding on the cover. I’d be playing all the classics on it. I was a huge Gang Starr fan. Ultramag, Erick Sermon, Jungle Brothers, De La, KMD, Brand Nubian. I also might be fucking with some dub, too, some King Tubby or Scratch Perry. I’d listen to dancehall too, and a bit of punk rock, like Black Flag.\u003c/p>\n\u003cp>I was 20 when I recorded \u003cem>No Need for Alarm\u003c/em>. I’m 50 now. I don’t feel 50, because I don’t drive. I skate everywhere. In certain ways I feel my age because of some of the injuries I’ve had, like when I was with the Gorillaz, I had a real bad injury, fell off the stage, damn near killed myself. But I don’t feel like I look hella old, either.\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>Hip-hop is 50 now, too, and it’s gotten to the point where it’s so far removed from where it was. The essence of it is so far removed from where kids is at now. I’m not saying that don’t nobody care about it, because a lot of kids do care about it, and they try to research the shit and figure it out. It speaks to them. But it’s been commercialized to the point where it’s been milked down by corporate society, motherfuckers feasting on shit, just wearing it into the ground. That’s the sad situation of it.\u003c/p>\n\u003cp>I’m not trying to sound hella dark or nothing, because I do got a lot of hope in the shit. There’s been new movements within hip-hop that took it somewhere else, that maybe a lot of old heads might not really fuck with. But I feel, overall, just the corporate rule, always, that’s what it is — “We trying to make money off this.” Ain’t really no concern about the culture or people.\u003c/p>\n\u003cp>As for \u003cem>No Need for Alarm\u003c/em>, I’m just glad people still fuck with it, 30 years later. One love to all the supporters and all the fans. I love you all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary","authors":["byline_arts_13927692"],"categories":["arts_1","arts_835","arts_7862","arts_69","arts_75","arts_70"],"tags":["arts_8505","arts_10342","arts_10278","arts_2284","arts_831","arts_1143","arts_19347"],"featImg":"arts_13927685","label":"source_arts_13927692"},"arts_13924170":{"type":"posts","id":"arts_13924170","meta":{"index":"posts_1591205157","site":"arts","id":"13924170","score":null,"sort":[1675281640000]},"guestAuthors":[],"slug":"hieroglyphics-hobo-junction-battle-documentary","title":"The Bay Area Rap Battle Heard 'Round the World","publishDate":1675281640,"format":"video","headTitle":"The Bay Area Rap Battle Heard ‘Round the World | KQED","labelTerm":{},"content":"\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore \u003cem>8 Mile\u003c/em>, before Scribble Jam and WorldStar, and before MTV and BET developed freestyle shows, there was the Hiero-Hobo battle.\u003c/p>\n\u003cp>Pitting Saafir and his Hobo Junction crew against Casual and his Hieroglyphics crew, the 1994 rap battle held in KMEL’s San Francisco studios, broadcast live on the air, lasted more than 40 minutes. But its aftereffects lasted for decades.\u003c/p>\n\u003cp>“It was like an out-of-body experience, just watching it,” said KMEL host Sway. “It was the most amazing, beautiful conflict you could ever witness.”\u003c/p>\n\u003cp>Above, watch Shomari Smith’s 2021 short documentary \u003cem>The Battle\u003c/em>, which includes rare footage of the battle itself, and read below for some of the director’s reflections on this landmark meeting of Bay Area greats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"\" width=\"400\" height=\"48\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>GABE MELINE: In the realm of Bay Area hip-hop history, in your own words, how important was this battle?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SHOMARI SMITH\u003c/strong>: This battle was one of \u003cem>the\u003c/em> most important, for sure, for West Coast MCs, especially during that time. There was a different style from New York that kind of spawned out of the West Coast, and it was great to see West Coast MCs just battling it out live on the radio. You don’t see that very often — I can’t think of another live battle that happened on the air, at all. It’s usually at a show, or on record. So yeah, it was unique, and very, very important.\u003c/p>\n\u003cp>[aside postid='arts_13923938']\u003cstrong>Freestyle battles weren’t as big a thing in the Bay as they were in New York, or Philly, or Cincinnati. Why do you think that is? \u003c/strong>\u003c/p>\n\u003cp>It’s interesting, because there \u003cem>was\u003c/em> a culture for it here. It was just smaller. You had to seek it out. A lot of it happened on street corners; you wouldn’t find it formally happening. And I believe it just had a lot to do with what was popularized here — Too Short, sort of spawning the culture, he had a totally different style. It wasn’t a battle-rap style. There was this subculture of MCs who liked to battle and meet up, but it was just a smaller community on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_13924171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg\" alt=\"A man in a beanie and headphones raps assertively into a microphone in a radio station studio\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saafir takes aim at Casual during the Hieroglyphics / Hobo Junction rap battle at KMEL Studios, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel / Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What ripple effects would you say the Hiero-Hobo battle had, for its participants but also in the culture at large?\u003c/strong>\u003c/p>\n\u003cp>The battle really spawned out of a personal dispute. And I think the biggest thing is that no one was physically hurt. So many times, you’ll see two rappers have a problem with each other, and then there’s a fight. Neither of these two guys ever got hurt over this battle, and there was a resolve on the mic.\u003c/p>\n\u003cp>But then also, as the tapes traveled, and now with \u003cem>The Battle\u003c/em> being available online, you hear this energy and spontaneity. It spread this understanding that, yes, there are rappers’ rappers here in the Bay Area that very early on were following in the tradition of some of the original elements of hip-hop. It really brought attention to the Bay Area in a way that we hadn’t seen before.\u003c/p>\n\u003cp>[aside postID='arts_13918720']\u003cstrong>When you first set out to do this documentary… were you worried at all about reigniting old disputes?\u003c/strong>\u003c/p>\n\u003cp>No. Making the \u003ca href=\"https://youtu.be/QVKJWlxpPy4\">Souls of Mischief documentary\u003c/a>, because they were a part of the battle, it was something that came up over and over again. At a certain point, I started making the battle a part of my line of questioning. And the last piece of it came when I ran into Saafir in Los Angeles, and I hadn’t seen him in a very, very long time, and he said so many nice things about the Souls. Right then and there, I knew this was something I could do.\u003c/p>\n\u003cp>Twenty years had passed. They had moved on. It seemed like they looked back on it finally like, “Oh, we were young guys, and I can’t believe we did that.” It was that energy.\u003c/p>\n\u003cp>\u003cstrong>One thing that really comes across is that, despite the passage of time, everybody remembers the events in that cramped studio really, really vividly.\u003c/strong>\u003c/p>\n\u003cp>It’s really incredible! Even 20 years later, the way they tell the story, like with the energy around it. A friend of mine, Alex Asher Daniel, who’s close with Hiero, also was in the room that night, and he brought a video camera to the battle. And Alex has had the tape this entire time, been watching it since the ’90s, but there’s no other tape that’s ever really surfaced of it. Everyone else who videotaped that night, I’m not sure what they did with their footage, or if it got lost, or it’s so far removed now, but nothing else has ever really surfaced.\u003c/p>\n\u003cp>I think the greatest element of the film is to actually see the footage of these guys in the studio facing off. It’s a special moment in hip-hop, and I think it deserved to be documented. We have to tell our own stories in our own way, and that’s why the way it’s told, the way I formed it, was very intentional. I didn’t have an angle in it, which was something Saafir really thanked me for, because he knows that I’m close with Hiero.\u003c/p>\n\u003cfigure id=\"attachment_13924404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg\" alt=\"A man in a colorful jacket, rapping into a microphone, surrounded by supporters\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casual battles it out against Saafir at KMEL studios in San Francisco, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel/Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So here’s the million-dollar question: Who do \u003cem>you\u003c/em> think won the battle?\u003c/strong>\u003c/p>\n\u003cp>Well, this is where my allegiance comes in. It’s Hiero, for sure. My whole thing was, if you’re only saying what is coming from your head at that moment, I think that’s pretty remarkable. Casual did not prepare at all, and that’s pretty incredible, to go live on the air with no rhymes written. I don’t know if there’s an MC that does that anymore. So yeah, my allegiance will always be with the Hiero crew, for sure. [aside postid='arts_13924167']\u003c/p>\n\u003cp>\u003cstrong>Is there anything else you want to add about the battle?\u003c/strong>\u003c/p>\n\u003cp>Like I was saying before, things spawned from the battle. Crews got involved. But no one died. This was a hip-hop conflict that was resolved in the right way, in the spirit of the culture. I really like to emphasize that because it seems like, more and more, people have trouble solving problems that don’t end up fatal. These guys have been able to go on and live their life, and finally talk about it later.\u003c/p>\n\u003cp>At the 20th anniversary of \u003cem>Fear Itself\u003c/em>, Casual had a show, and Saafir came. Casual brought him on stage. I was there for that moment, I put that in the film, and I think that’s the very essence of it. It’s like, “We were young, and we had some fun, and here we are now, 20 years later.” It’s pretty amazing for that to be the case, because so often it just isn’t.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Watch 'The Battle,' a short documentary about the 1994 Hieroglyphics / Hobo Junction freestyle battle.","status":"publish","parent":0,"modified":1705005907,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1284},"headData":{"title":"Watch: The Bay Area Rap Battle Heard 'Round the World | KQED","description":"Watch 'The Battle,' a short documentary about the 1994 Hieroglyphics / Hobo Junction freestyle battle.","ogTitle":"The Bay Area Rap Battle Heard 'Round the World","ogDescription":"Watch 'The Battle,' a short documentary about the 1994 Hieroglyphics / Hobo Junction freestyle battle.","ogImgId":"arts_13924399","twTitle":"The Bay Area Rap Battle Heard 'Round the World","twDescription":"Watch 'The Battle,' a short documentary about the 1994 Hieroglyphics / Hobo Junction freestyle battle.","twImgId":"arts_13924399","socialTitle":"Watch: The Bay Area Rap Battle Heard 'Round the World %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area Rap Battle Heard 'Round the World","datePublished":"2023-02-01T20:00:40.000Z","dateModified":"2024-01-11T20:45:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=QC7OtfYxDaQ","source":"That's My Word","sourceUrl":"http://kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924170/hieroglyphics-hobo-junction-battle-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore \u003cem>8 Mile\u003c/em>, before Scribble Jam and WorldStar, and before MTV and BET developed freestyle shows, there was the Hiero-Hobo battle.\u003c/p>\n\u003cp>Pitting Saafir and his Hobo Junction crew against Casual and his Hieroglyphics crew, the 1994 rap battle held in KMEL’s San Francisco studios, broadcast live on the air, lasted more than 40 minutes. But its aftereffects lasted for decades.\u003c/p>\n\u003cp>“It was like an out-of-body experience, just watching it,” said KMEL host Sway. “It was the most amazing, beautiful conflict you could ever witness.”\u003c/p>\n\u003cp>Above, watch Shomari Smith’s 2021 short documentary \u003cem>The Battle\u003c/em>, which includes rare footage of the battle itself, and read below for some of the director’s reflections on this landmark meeting of Bay Area greats.\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"\" width=\"400\" height=\"48\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>GABE MELINE: In the realm of Bay Area hip-hop history, in your own words, how important was this battle?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SHOMARI SMITH\u003c/strong>: This battle was one of \u003cem>the\u003c/em> most important, for sure, for West Coast MCs, especially during that time. There was a different style from New York that kind of spawned out of the West Coast, and it was great to see West Coast MCs just battling it out live on the radio. You don’t see that very often — I can’t think of another live battle that happened on the air, at all. It’s usually at a show, or on record. So yeah, it was unique, and very, very important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Freestyle battles weren’t as big a thing in the Bay as they were in New York, or Philly, or Cincinnati. Why do you think that is? \u003c/strong>\u003c/p>\n\u003cp>It’s interesting, because there \u003cem>was\u003c/em> a culture for it here. It was just smaller. You had to seek it out. A lot of it happened on street corners; you wouldn’t find it formally happening. And I believe it just had a lot to do with what was popularized here — Too Short, sort of spawning the culture, he had a totally different style. It wasn’t a battle-rap style. There was this subculture of MCs who liked to battle and meet up, but it was just a smaller community on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_13924171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg\" alt=\"A man in a beanie and headphones raps assertively into a microphone in a radio station studio\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Saafir.Battle.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saafir takes aim at Casual during the Hieroglyphics / Hobo Junction rap battle at KMEL Studios, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel / Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What ripple effects would you say the Hiero-Hobo battle had, for its participants but also in the culture at large?\u003c/strong>\u003c/p>\n\u003cp>The battle really spawned out of a personal dispute. And I think the biggest thing is that no one was physically hurt. So many times, you’ll see two rappers have a problem with each other, and then there’s a fight. Neither of these two guys ever got hurt over this battle, and there was a resolve on the mic.\u003c/p>\n\u003cp>But then also, as the tapes traveled, and now with \u003cem>The Battle\u003c/em> being available online, you hear this energy and spontaneity. It spread this understanding that, yes, there are rappers’ rappers here in the Bay Area that very early on were following in the tradition of some of the original elements of hip-hop. It really brought attention to the Bay Area in a way that we hadn’t seen before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918720","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>When you first set out to do this documentary… were you worried at all about reigniting old disputes?\u003c/strong>\u003c/p>\n\u003cp>No. Making the \u003ca href=\"https://youtu.be/QVKJWlxpPy4\">Souls of Mischief documentary\u003c/a>, because they were a part of the battle, it was something that came up over and over again. At a certain point, I started making the battle a part of my line of questioning. And the last piece of it came when I ran into Saafir in Los Angeles, and I hadn’t seen him in a very, very long time, and he said so many nice things about the Souls. Right then and there, I knew this was something I could do.\u003c/p>\n\u003cp>Twenty years had passed. They had moved on. It seemed like they looked back on it finally like, “Oh, we were young guys, and I can’t believe we did that.” It was that energy.\u003c/p>\n\u003cp>\u003cstrong>One thing that really comes across is that, despite the passage of time, everybody remembers the events in that cramped studio really, really vividly.\u003c/strong>\u003c/p>\n\u003cp>It’s really incredible! Even 20 years later, the way they tell the story, like with the energy around it. A friend of mine, Alex Asher Daniel, who’s close with Hiero, also was in the room that night, and he brought a video camera to the battle. And Alex has had the tape this entire time, been watching it since the ’90s, but there’s no other tape that’s ever really surfaced of it. Everyone else who videotaped that night, I’m not sure what they did with their footage, or if it got lost, or it’s so far removed now, but nothing else has ever really surfaced.\u003c/p>\n\u003cp>I think the greatest element of the film is to actually see the footage of these guys in the studio facing off. It’s a special moment in hip-hop, and I think it deserved to be documented. We have to tell our own stories in our own way, and that’s why the way it’s told, the way I formed it, was very intentional. I didn’t have an angle in it, which was something Saafir really thanked me for, because he knows that I’m close with Hiero.\u003c/p>\n\u003cfigure id=\"attachment_13924404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg\" alt=\"A man in a colorful jacket, rapping into a microphone, surrounded by supporters\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Casual.Battle.KMEL_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casual battles it out against Saafir at KMEL studios in San Francisco, Nov. 18, 1994. \u003ccite>(Alex Asher Daniel/Courtesy Skyfre Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So here’s the million-dollar question: Who do \u003cem>you\u003c/em> think won the battle?\u003c/strong>\u003c/p>\n\u003cp>Well, this is where my allegiance comes in. It’s Hiero, for sure. My whole thing was, if you’re only saying what is coming from your head at that moment, I think that’s pretty remarkable. Casual did not prepare at all, and that’s pretty incredible, to go live on the air with no rhymes written. I don’t know if there’s an MC that does that anymore. So yeah, my allegiance will always be with the Hiero crew, for sure. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924167","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is there anything else you want to add about the battle?\u003c/strong>\u003c/p>\n\u003cp>Like I was saying before, things spawned from the battle. Crews got involved. But no one died. This was a hip-hop conflict that was resolved in the right way, in the spirit of the culture. I really like to emphasize that because it seems like, more and more, people have trouble solving problems that don’t end up fatal. These guys have been able to go on and live their life, and finally talk about it later.\u003c/p>\n\u003cp>At the 20th anniversary of \u003cem>Fear Itself\u003c/em>, Casual had a show, and Saafir came. Casual brought him on stage. I was there for that moment, I put that in the film, and I think that’s the very essence of it. It’s like, “We were young, and we had some fun, and here we are now, 20 years later.” It’s pretty amazing for that to be the case, because so often it just isn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924170/hieroglyphics-hobo-junction-battle-documentary","authors":["185"],"categories":["arts_1","arts_835","arts_7862","arts_74","arts_69"],"tags":["arts_2284","arts_831","arts_974","arts_19347"],"featImg":"arts_13924401","label":"source_arts_13924170"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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