Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)
For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events
You Never Thought That Hip-Hop Could Take It This Far
E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor
Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration
Hyphy Kids Got Trauma: A Rightnowish Podcast Series
E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences
Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland
Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop
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From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13934248']\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479']\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","status":"publish","parent":0,"modified":1713412777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":2211},"headData":{"title":"Bay Area Rappers and Food Lyrics | KQED","description":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","ogTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","ogDescription":"","ogImgId":"","twTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","twDescription":"","twImgId":"","socialTitle":"Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","datePublished":"2024-04-17T21:52:32.000Z","dateModified":"2024-04-18T03:59:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907726,arts_13934248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938479","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","authors":["11748"],"categories":["arts_1","arts_12276","arts_69"],"tags":["arts_21883","arts_5397","arts_1601","arts_10278","arts_1297","arts_3771","arts_831","arts_21738","arts_1558","arts_9337","arts_1143","arts_1803","arts_1146","arts_19942","arts_19347","arts_3478","arts_3800"],"featImg":"arts_13956152","label":"source_arts_13955802"},"arts_13950643":{"type":"posts","id":"arts_13950643","meta":{"index":"posts_1591205157","site":"arts","id":"13950643","score":null,"sort":[1705695706000]},"guestAuthors":[],"slug":"mistah-fab-week-oakland-2024","title":"For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events","publishDate":1705695706,"format":"standard","headTitle":"For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What started as a series of parties called F.A.B. Week to mark Mistah F.A.B.’s 40th birthday has evolved into a full-blown annual festival that the \u003ca href=\"http://kqed.org/bayareahiphop\">Oakland rap\u003c/a> star, entrepreneur and community organizer puts on for his hometown — pretty much single-handedly.\u003c/p>\n\u003cp>“I’m not gonna lie and make it seem like I’m not overwhelmed at times,” says Mistah F.A.B., now almost 42, while laying down verses for an upcoming album at Studio X. As proof, his phone goes off every 30 seconds with calls about F.A.B. Week, fatherhood duties and musical collaborations. “But I know that in the beginning of your creations you have to do the pottery. And that’s where we are. … Hopefully the clay can withstand.”\u003c/p>\n\u003cp>[aside postid='arts_13929461']F.A.B. Week kicks off Monday, Jan. 22, with a ribbon-cutting ceremony for a new \u003ca href=\"https://www.instagram.com/p/C2RFKB7LevT/\">Mistah F.A.B. mural\u003c/a> by Airballin and Steven Anderson on 45th and Market Streets, where Mistah F.A.B. grew up, and a \u003ca href=\"https://www.eventbrite.com/e/know-your-lane-celebrity-bowling-too-hort-gary-payton-tickets-792692694187?aff=erelpanelorg\">“Know Your Lane” bowling party\u003c/a> at Plank in Jack London Square with celebrity guests Too Short and Gary Payton. Events continue daily through Jan. 28, with a \u003ca href=\"https://www.kron4.com/community/calendar/?_escaped_fragment_=/show/?start=2022-04-26#!/details/Fab-Week-2024-Dope-Era-Comedy-Show-HaHa-Davis-Hosted-by-Lewis-Belt/12965871/2024-01-23T20\">comedy night starring HaHa Davis\u003c/a> on Jan. 23 at Tommy T’s in Pleasanton and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-baytl-skate-night-dj-esco-in-the-mix-21-tickets-791928588727?aff=erelpanelorg\">Bay-TL Skate Party\u003c/a> with Future’s DJ and producer DJ Esco on Jan. 24 at the Henry J. Kaiser Auditorium in Oakland.\u003c/p>\n\u003cp>On Jan. 25, F.A.B. will bring a ’90s mobb music revival (and some hyphy) to the long-running \u003ca href=\"https://www.eventbrite.com/e/remember-the-nights-3xkrazy-the-delinquents-dru-down-black-c-the-team-tickets-795546118857?aff=erelpanelorg\">San Francisco hip-hop party City Nights\u003c/a>, with performances by 3XKrazy, The Delinquents, Dru Down, Black C of RBL Posse and The Team.\u003c/p>\n\u003cp>Festivities continue with a fashion show at Mistah F.A.B.’s downtown Oakland nightclub Dezi’s on Jan. 26, produced by celebrity stylist Mario B. “He’s a huge advocate and spokesman for the LGBTQ community,” F.A.B. says, noting the importance of unity. “To me that partnership was about, ‘Aye, we all here. We all together.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13950363']The week will wrap with a car show and \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-sneaker-prom-tickets-797092905337?aff=ebdsoporgprofile\">Sneaker Prom party\u003c/a> at Oakstop’s historic California Ballroom on Jan. 27, and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-big-facts-brunch-w-babyjade-bigbankatl-and-djscream-tickets-804064557737?aff=ebdsoporgprofile\">Big Facts Brunch\u003c/a> at ForTheCulture in Old Oakland and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-celebrity-basketball-game-tickets-797938334037?aff=ebdsoporgprofile\">celebrity basketball game\u003c/a> at Oakland Technical High School on Jan. 28.\u003c/p>\n\u003cp>With Oakland’s wealth inequality and resulting struggles with crime regularly in the news, F.A.B. says he wants to shine a light on the city as a creative powerhouse.\u003c/p>\n\u003cp>“All we hear about Oakland is that it’s this dangerous place, it’s Gotham City,” he says. “They don’t talk about the beauty of the city. They don’t talk about the brilliant minds that still lay here. They don’t talk about the art diaspora, the musical expression, the businesses that are still thriving even in the midst of all of these negative things.”\u003c/p>\n\u003cp>[aside postid='arts_13950392']Mistah F.A.B. has a hand in pretty much all those categories. The Dope Era boutique owner and veteran artist who helped spearhead the hyphy movement of the 2000s has put in decades of work as a philanthropist and community organizer. Most recently, he’s ramped up his \u003ca href=\"https://oaklandside.org/2023/10/30/oakland-hip-hop-mental-health-black-men-group-therapy/\">Thug Therapy\u003c/a> men’s support and mentorship groups (“thug” standing for “teaching, helping, uniting and guiding”), along with an analogous Tea Time for women. He’s working on getting the programs into Oakland schools, with a long-term goal to create his own Dope Era Academy youth center and offer free access to arts, professional development and social support.\u003c/p>\n\u003cp>“I’m just trying to keep growing and putting the work in,” Mistah F.A.B. says. “Not really worrying about the scoreboard, but just continuing to put points up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>F.A.B. Week runs Monday–Sunday, Jan. 22–28. \u003ca href=\"https://www.eventbrite.com/o/dope-era-events-70340499773\">Tickets to most events are on Eventbrite\u003c/a>. For more information and updates, follow \u003ca href=\"https://www.instagram.com/fabbydavisjr1\">Mistah F.A.B. on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"F.A.B. Week expands to a full-blown festival with a 3XKrazy concert, fashion show, car show and more. ","status":"publish","parent":0,"modified":1705968216,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":708},"headData":{"title":"For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events | KQED","description":"F.A.B. Week expands to a full-blown festival with a 3XKrazy concert, fashion show, car show and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For His Birthday, Mistah F.A.B. Gifts the Bay Area a Week of Parties and Events","datePublished":"2024-01-19T20:21:46.000Z","dateModified":"2024-01-23T00:03:36.000Z","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/13950643/mistah-fab-week-oakland-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a series of parties called F.A.B. Week to mark Mistah F.A.B.’s 40th birthday has evolved into a full-blown annual festival that the \u003ca href=\"http://kqed.org/bayareahiphop\">Oakland rap\u003c/a> star, entrepreneur and community organizer puts on for his hometown — pretty much single-handedly.\u003c/p>\n\u003cp>“I’m not gonna lie and make it seem like I’m not overwhelmed at times,” says Mistah F.A.B., now almost 42, while laying down verses for an upcoming album at Studio X. As proof, his phone goes off every 30 seconds with calls about F.A.B. Week, fatherhood duties and musical collaborations. “But I know that in the beginning of your creations you have to do the pottery. And that’s where we are. … Hopefully the clay can withstand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929461","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>F.A.B. Week kicks off Monday, Jan. 22, with a ribbon-cutting ceremony for a new \u003ca href=\"https://www.instagram.com/p/C2RFKB7LevT/\">Mistah F.A.B. mural\u003c/a> by Airballin and Steven Anderson on 45th and Market Streets, where Mistah F.A.B. grew up, and a \u003ca href=\"https://www.eventbrite.com/e/know-your-lane-celebrity-bowling-too-hort-gary-payton-tickets-792692694187?aff=erelpanelorg\">“Know Your Lane” bowling party\u003c/a> at Plank in Jack London Square with celebrity guests Too Short and Gary Payton. Events continue daily through Jan. 28, with a \u003ca href=\"https://www.kron4.com/community/calendar/?_escaped_fragment_=/show/?start=2022-04-26#!/details/Fab-Week-2024-Dope-Era-Comedy-Show-HaHa-Davis-Hosted-by-Lewis-Belt/12965871/2024-01-23T20\">comedy night starring HaHa Davis\u003c/a> on Jan. 23 at Tommy T’s in Pleasanton and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-baytl-skate-night-dj-esco-in-the-mix-21-tickets-791928588727?aff=erelpanelorg\">Bay-TL Skate Party\u003c/a> with Future’s DJ and producer DJ Esco on Jan. 24 at the Henry J. Kaiser Auditorium in Oakland.\u003c/p>\n\u003cp>On Jan. 25, F.A.B. will bring a ’90s mobb music revival (and some hyphy) to the long-running \u003ca href=\"https://www.eventbrite.com/e/remember-the-nights-3xkrazy-the-delinquents-dru-down-black-c-the-team-tickets-795546118857?aff=erelpanelorg\">San Francisco hip-hop party City Nights\u003c/a>, with performances by 3XKrazy, The Delinquents, Dru Down, Black C of RBL Posse and The Team.\u003c/p>\n\u003cp>Festivities continue with a fashion show at Mistah F.A.B.’s downtown Oakland nightclub Dezi’s on Jan. 26, produced by celebrity stylist Mario B. “He’s a huge advocate and spokesman for the LGBTQ community,” F.A.B. says, noting the importance of unity. “To me that partnership was about, ‘Aye, we all here. We all together.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The week will wrap with a car show and \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-sneaker-prom-tickets-797092905337?aff=ebdsoporgprofile\">Sneaker Prom party\u003c/a> at Oakstop’s historic California Ballroom on Jan. 27, and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-big-facts-brunch-w-babyjade-bigbankatl-and-djscream-tickets-804064557737?aff=ebdsoporgprofile\">Big Facts Brunch\u003c/a> at ForTheCulture in Old Oakland and a \u003ca href=\"https://www.eventbrite.com/e/fab-week-24-celebrity-basketball-game-tickets-797938334037?aff=ebdsoporgprofile\">celebrity basketball game\u003c/a> at Oakland Technical High School on Jan. 28.\u003c/p>\n\u003cp>With Oakland’s wealth inequality and resulting struggles with crime regularly in the news, F.A.B. says he wants to shine a light on the city as a creative powerhouse.\u003c/p>\n\u003cp>“All we hear about Oakland is that it’s this dangerous place, it’s Gotham City,” he says. “They don’t talk about the beauty of the city. They don’t talk about the brilliant minds that still lay here. They don’t talk about the art diaspora, the musical expression, the businesses that are still thriving even in the midst of all of these negative things.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Mistah F.A.B. has a hand in pretty much all those categories. The Dope Era boutique owner and veteran artist who helped spearhead the hyphy movement of the 2000s has put in decades of work as a philanthropist and community organizer. Most recently, he’s ramped up his \u003ca href=\"https://oaklandside.org/2023/10/30/oakland-hip-hop-mental-health-black-men-group-therapy/\">Thug Therapy\u003c/a> men’s support and mentorship groups (“thug” standing for “teaching, helping, uniting and guiding”), along with an analogous Tea Time for women. He’s working on getting the programs into Oakland schools, with a long-term goal to create his own Dope Era Academy youth center and offer free access to arts, professional development and social support.\u003c/p>\n\u003cp>“I’m just trying to keep growing and putting the work in,” Mistah F.A.B. says. “Not really worrying about the scoreboard, but just continuing to put points up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>F.A.B. Week runs Monday–Sunday, Jan. 22–28. \u003ca href=\"https://www.eventbrite.com/o/dope-era-events-70340499773\">Tickets to most events are on Eventbrite\u003c/a>. For more information and updates, follow \u003ca href=\"https://www.instagram.com/fabbydavisjr1\">Mistah F.A.B. on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950643/mistah-fab-week-oakland-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_76","arts_69","arts_13238"],"tags":["arts_8505","arts_10278","arts_831","arts_13352","arts_585","arts_3478"],"featImg":"arts_13934346","label":"arts_140"},"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_13936776":{"type":"posts","id":"arts_13936776","meta":{"index":"posts_1591205157","site":"arts","id":"13936776","score":null,"sort":[1697936103000]},"guestAuthors":[],"slug":"e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor","title":"E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor","publishDate":1697936103,"format":"standard","headTitle":"E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Saturday, Vallejo Mayor Robert McConnell handed the key to the city to one of its biggest musical icons: E-40.\u003c/p>\n\u003cp>“I didn’t even know anywhere else. I only knew 4 blocks. I was just a ghetto child. I never thought I’d be selling tapes out of the trunk of the car over at M&M liquor to having my \u003cem>own\u003c/em> liquor,” said Earl Stevens, aka E-40, at the ceremony on a stretch of Magazine Street that now bears the honorary street sign E-40 Way. It marks the neighborhood where he was raised and began his chart-topping career.\u003c/p>\n\u003cfigure id=\"attachment_13936795\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936795 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see the type of talent this city has produced over many many decades,” said Mayor McConnell, addressing the crowd of hundreds that gathered for the ceremony. “Continuously when you move throughout the Bay Area and when you live in other cities, you meet people who say ‘I grew up and I lived in Vallejo,’ and they’re very proud of it.”\u003c/p>\n\u003cp>“So we want to acknowledge his success, and more importantly, we want to acknowledge his contributions to the city,” added McConnell.\u003c/p>\n\u003cfigure id=\"attachment_13936788\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936788 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg\" alt=\"Vallejo High School cheerleaders perform at Earl “E-40” Stevens’ honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo High School cheerleaders perform at Earl ‘E-40’ Stevens’ honorary ceremony, with E-40 (right) sitting beside Vallejo Mayor Robert McConnell on stage. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-born hip-hop and hyphy artist Mistah F.A.B., master of ceremonies at the event, said E-40 was somebody he grew up idolizing as an artist and as a person.\u003c/p>\n\u003cp>“Today is about being here for somebody that has opened up doors, somebody that has pioneered and championed what it is like to be not only an artist, but to be an entrepreneur, to be a father, to be a friend, to be a family member, to be a great business man,” said Mistah F.A.B., who is also a community organizer, entrepreneur and activist. “I think that you guys are just as proud as we are and we’re happy. … This is a beautiful moment, man.”\u003c/p>\n\u003cfigure id=\"attachment_13936789\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936789 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s family members sit in the audience during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s family members sit in the audience during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40 is a name practically synonymous with \u003ca href=\"http://kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, and he’s enjoyed impressive career longevity rarely seen in rap. He got his start in the late ’80s as a member of The Click, a group that also featured his sister Suga-T, brother D-Shot and cousin B-Legit.\u003c/p>\n\u003cp>Along with peers like Too Short, E-40 set the standard for independent music distribution by selling tapes “out the trunk.” His label Sick Wid It Records later signed a distribution deal with Jive, and The Click’s second album, 1995’s \u003cem>Game Related\u003c/em>, peaked at No. 21.\u003c/p>\n\u003cfigure id=\"attachment_13936794\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936794 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a good opportunity for the kids that are coming up here, to build something positive for the children coming up in Vallejo,” said Vallejo resident Rosalyn Robinson. “I think it’s a monumental event, giving Vallejo that credit that’s well needed. E-40 has been in the game for four decades, and this celebration is way past.”\u003c/p>\n\u003cp>[aside postID=arts_13935408 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGT-part-2-web-image-1020x574.png']In 1993, E-40 launched his solo career with the album \u003cem>Federal\u003c/em> and continued collaborating with members of The Click on hits like 1995’s “Sprinkle Me” featuring Suga-T as his national profile grew. He’s credited with inventing and popularizing many Bay Area slang terms — such as “broccoli” for cannabis, “fasheezy” and “flamboastin’.”\u003c/p>\n\u003cp>E-40’s hit-making streak continued with the 2006 smash “Tell Me When To Go,” which came to define hyphy — the local, hard-partying rap subculture — for the rest of the country. His 2014 song “Choices” became a Golden State Warriors anthem that amped up the team during its championship games.\u003c/p>\n\u003cfigure id=\"attachment_13936792\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936792 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dennis Lastra, who grew up next-door to Stevens in his grandmother’s house, said despite all the success and the accomplishments, E-40 was always humble and always made sure to visit them whenever he was in Vallejo.\u003c/p>\n\u003cp>“I’m just so proud of him, man. Because like, just from day one, I seen her struggle as a single mother, and she raised her kids,” said Lastra of Earl Stevens’ mother, who raised him and his siblings as a single parent. “\u003cb>\u003c/b>I give all props to that man. … You feel that gratitude that he has. It’s just humbling to hear that from someone that has achieved so much. … And the hard way, it wasn’t the easy way.”\u003c/p>\n\u003cfigure id=\"attachment_13936791\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936791 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg\" alt=\"E-40 Way seen on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 Way in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, E-40 collaborated with younger Bay Area artists like P-Lo and national rap stars, including Snoop Dogg, T.I. and Ice Cube. While continuing to make music, he’s shifted his energy toward his philanthropy and liquor and food businesses. He has a forthcoming cookbook with Snoop Dogg, \u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/untitled-snoop-cookbook-2\">Goon With the Spoon\u003c/a>\u003c/em>, out Nov. 14 via Chronicle Books.\u003c/p>\n\u003cfigure id=\"attachment_13936790\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936790 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens speaks during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens speaks during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“E-40 is a trailblazer and he’s opened up many doors for young people to walk through,” said Rosalyn Robinson. “He’s very humble, always been humble. He’s always been loyal. And I think it’s important for the kids to see, and it’s important for events like this to keep happening.”\u003c/p>\n\u003cp>\u003cem>KQED’s Attila Pelit contributed to this story.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Vallejo's mayor unveiled E-40 Way on Magazine Street, honoring the neighborhood where the Bay Area rap legend was raised and began his chart-topping career.","status":"publish","parent":0,"modified":1705003199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1071},"headData":{"title":"E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor | KQED","description":"Vallejo's mayor unveiled E-40 Way on Magazine Street, honoring the neighborhood where the Bay Area rap legend was raised and began his chart-topping career.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor","datePublished":"2023-10-22T00:55:03.000Z","dateModified":"2024-01-11T19:59:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/fc9fa481-8444-4a95-a438-b0a3010342c4/audio.mp3?download=true","sticky":false,"nprByline":"\u003ca>Nastia Voynovskaya\u003c/a>, \u003ca>Billy Cruz\u003c/a>","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday, Vallejo Mayor Robert McConnell handed the key to the city to one of its biggest musical icons: E-40.\u003c/p>\n\u003cp>“I didn’t even know anywhere else. I only knew 4 blocks. I was just a ghetto child. I never thought I’d be selling tapes out of the trunk of the car over at M&M liquor to having my \u003cem>own\u003c/em> liquor,” said Earl Stevens, aka E-40, at the ceremony on a stretch of Magazine Street that now bears the honorary street sign E-40 Way. It marks the neighborhood where he was raised and began his chart-topping career.\u003c/p>\n\u003cfigure id=\"attachment_13936795\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936795 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see the type of talent this city has produced over many many decades,” said Mayor McConnell, addressing the crowd of hundreds that gathered for the ceremony. “Continuously when you move throughout the Bay Area and when you live in other cities, you meet people who say ‘I grew up and I lived in Vallejo,’ and they’re very proud of it.”\u003c/p>\n\u003cp>“So we want to acknowledge his success, and more importantly, we want to acknowledge his contributions to the city,” added McConnell.\u003c/p>\n\u003cfigure id=\"attachment_13936788\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936788 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg\" alt=\"Vallejo High School cheerleaders perform at Earl “E-40” Stevens’ honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo High School cheerleaders perform at Earl ‘E-40’ Stevens’ honorary ceremony, with E-40 (right) sitting beside Vallejo Mayor Robert McConnell on stage. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-born hip-hop and hyphy artist Mistah F.A.B., master of ceremonies at the event, said E-40 was somebody he grew up idolizing as an artist and as a person.\u003c/p>\n\u003cp>“Today is about being here for somebody that has opened up doors, somebody that has pioneered and championed what it is like to be not only an artist, but to be an entrepreneur, to be a father, to be a friend, to be a family member, to be a great business man,” said Mistah F.A.B., who is also a community organizer, entrepreneur and activist. “I think that you guys are just as proud as we are and we’re happy. … This is a beautiful moment, man.”\u003c/p>\n\u003cfigure id=\"attachment_13936789\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936789 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s family members sit in the audience during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s family members sit in the audience during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40 is a name practically synonymous with \u003ca href=\"http://kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, and he’s enjoyed impressive career longevity rarely seen in rap. He got his start in the late ’80s as a member of The Click, a group that also featured his sister Suga-T, brother D-Shot and cousin B-Legit.\u003c/p>\n\u003cp>Along with peers like Too Short, E-40 set the standard for independent music distribution by selling tapes “out the trunk.” His label Sick Wid It Records later signed a distribution deal with Jive, and The Click’s second album, 1995’s \u003cem>Game Related\u003c/em>, peaked at No. 21.\u003c/p>\n\u003cfigure id=\"attachment_13936794\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936794 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a good opportunity for the kids that are coming up here, to build something positive for the children coming up in Vallejo,” said Vallejo resident Rosalyn Robinson. “I think it’s a monumental event, giving Vallejo that credit that’s well needed. E-40 has been in the game for four decades, and this celebration is way past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935408","hero":"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGT-part-2-web-image-1020x574.png","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 1993, E-40 launched his solo career with the album \u003cem>Federal\u003c/em> and continued collaborating with members of The Click on hits like 1995’s “Sprinkle Me” featuring Suga-T as his national profile grew. He’s credited with inventing and popularizing many Bay Area slang terms — such as “broccoli” for cannabis, “fasheezy” and “flamboastin’.”\u003c/p>\n\u003cp>E-40’s hit-making streak continued with the 2006 smash “Tell Me When To Go,” which came to define hyphy — the local, hard-partying rap subculture — for the rest of the country. His 2014 song “Choices” became a Golden State Warriors anthem that amped up the team during its championship games.\u003c/p>\n\u003cfigure id=\"attachment_13936792\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936792 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dennis Lastra, who grew up next-door to Stevens in his grandmother’s house, said despite all the success and the accomplishments, E-40 was always humble and always made sure to visit them whenever he was in Vallejo.\u003c/p>\n\u003cp>“I’m just so proud of him, man. Because like, just from day one, I seen her struggle as a single mother, and she raised her kids,” said Lastra of Earl Stevens’ mother, who raised him and his siblings as a single parent. “\u003cb>\u003c/b>I give all props to that man. … You feel that gratitude that he has. It’s just humbling to hear that from someone that has achieved so much. … And the hard way, it wasn’t the easy way.”\u003c/p>\n\u003cfigure id=\"attachment_13936791\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936791 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg\" alt=\"E-40 Way seen on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 Way in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, E-40 collaborated with younger Bay Area artists like P-Lo and national rap stars, including Snoop Dogg, T.I. and Ice Cube. While continuing to make music, he’s shifted his energy toward his philanthropy and liquor and food businesses. He has a forthcoming cookbook with Snoop Dogg, \u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/untitled-snoop-cookbook-2\">Goon With the Spoon\u003c/a>\u003c/em>, out Nov. 14 via Chronicle Books.\u003c/p>\n\u003cfigure id=\"attachment_13936790\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936790 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens speaks during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens speaks during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“E-40 is a trailblazer and he’s opened up many doors for young people to walk through,” said Rosalyn Robinson. “He’s very humble, always been humble. He’s always been loyal. And I think it’s important for the kids to see, and it’s important for events like this to keep happening.”\u003c/p>\n\u003cp>\u003cem>KQED’s Attila Pelit contributed to this story.\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>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor","authors":["byline_arts_13936776"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1331","arts_8505","arts_1601","arts_10278","arts_10422","arts_16372","arts_831","arts_11439","arts_6975","arts_14988","arts_3478","arts_3800"],"featImg":"arts_13936796","label":"arts"},"arts_13935441":{"type":"posts","id":"arts_13935441","meta":{"index":"posts_1591205157","site":"arts","id":"13935441","score":null,"sort":[1695842403000]},"guestAuthors":[],"slug":"too-short-sway-calloway-chuy-gomez-empire-hip-hop-50","title":"Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration","publishDate":1695842403,"format":"standard","headTitle":"Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>San Francisco record label \u003ca href=\"https://empi.re/\">EMPIRE\u003c/a> has a track record of championing homegrown talent while also \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\">connecting Bay Area artists\u003c/a> to bigger opportunities on the national, and even international, stage. So its no surprise that the label is putting on its own celebration of 50 years of hip-hop culture. The party will take place on \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Oct. 15 at SVN West in San Francisco\u003c/a>, hosted by Too Short and legendary radio personalities Chuy Gomez and Sway Calloway. [aside label='More Hip-Hop 50 Coverage' postid='arts_13934715,arts_13933590']\u003c/p>\n\u003cp>Too Short began his career in the early ’80s, putting out custom homemade tapes, and by the end of the decade he ascended to national stardom with lyrics about Oakland street life and \u003ca href=\"https://www.kqed.org/whatspimpin\">pimp culture\u003c/a>. Now \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> royalty, he’s been a source of both local \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">pride\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">controversy\u003c/a> over his influential, decades-long career.\u003c/p>\n\u003cp>Chuy Gomez became a voice for the Bay Area hip-hop scene as a host on the California Music Channel, and later was a fixture at 106 KMEL for 20 years. Sway Calloway, meanwhile, began his career as a rapper and made a name for himself as a broadcaster with his syndicated \u003cem>Wake Up Show\u003c/em> in the ’90s. Since 2011, he’s hosted the influential \u003cem>Sway in the Morning \u003c/em>on SiriusXM.\u003c/p>\n\u003cp>Too Short, Gomez and Calloway will lead the festivities at EMPIRE’s celebration, which features DJs Steady, Cream of Beat (Mindmotion and DJ Ivan), Big Von, Scotty Fox and more. The event also promises food trucks, artist vendors, break dancers, a cypher and more.\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>\u003c/p>\n\u003cp>\u003cem>‘EMPIRE Salutes 50 Years of Hip-Hop’ takes place at SVN West (10 South Van Ness Ave., San Francisco) on Oct. 15. \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Oct. 15 party at SVN West features DJs, break dancers, a cypher and more. ","status":"publish","parent":0,"modified":1705003315,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":294},"headData":{"title":"Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration | KQED","description":"The Oct. 15 party at SVN West features DJs, break dancers, a cypher and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration","datePublished":"2023-09-27T19:20:03.000Z","dateModified":"2024-01-11T20:01:55.000Z","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/13935441/too-short-sway-calloway-chuy-gomez-empire-hip-hop-50","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco record label \u003ca href=\"https://empi.re/\">EMPIRE\u003c/a> has a track record of championing homegrown talent while also \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\">connecting Bay Area artists\u003c/a> to bigger opportunities on the national, and even international, stage. So its no surprise that the label is putting on its own celebration of 50 years of hip-hop culture. The party will take place on \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Oct. 15 at SVN West in San Francisco\u003c/a>, hosted by Too Short and legendary radio personalities Chuy Gomez and Sway Calloway. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Hip-Hop 50 Coverage ","postid":"arts_13934715,arts_13933590"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Too Short began his career in the early ’80s, putting out custom homemade tapes, and by the end of the decade he ascended to national stardom with lyrics about Oakland street life and \u003ca href=\"https://www.kqed.org/whatspimpin\">pimp culture\u003c/a>. Now \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> royalty, he’s been a source of both local \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">pride\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">controversy\u003c/a> over his influential, decades-long career.\u003c/p>\n\u003cp>Chuy Gomez became a voice for the Bay Area hip-hop scene as a host on the California Music Channel, and later was a fixture at 106 KMEL for 20 years. Sway Calloway, meanwhile, began his career as a rapper and made a name for himself as a broadcaster with his syndicated \u003cem>Wake Up Show\u003c/em> in the ’90s. Since 2011, he’s hosted the influential \u003cem>Sway in the Morning \u003c/em>on SiriusXM.\u003c/p>\n\u003cp>Too Short, Gomez and Calloway will lead the festivities at EMPIRE’s celebration, which features DJs Steady, Cream of Beat (Mindmotion and DJ Ivan), Big Von, Scotty Fox and more. The event also promises food trucks, artist vendors, break dancers, a cypher and more.\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>\n\u003cp>\u003cem>‘EMPIRE Salutes 50 Years of Hip-Hop’ takes place at SVN West (10 South Van Ness Ave., San Francisco) on Oct. 15. \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935441/too-short-sway-calloway-chuy-gomez-empire-hip-hop-50","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_21365","arts_585","arts_3478"],"featImg":"arts_13927313","label":"arts_140"},"arts_13934874":{"type":"posts","id":"arts_13934874","meta":{"index":"posts_1591205157","site":"arts","id":"13934874","score":null,"sort":[1695286815000]},"guestAuthors":[],"slug":"hyphy-kids-got-trauma","title":"Hyphy Kids Got Trauma: A Rightnowish Podcast Series","publishDate":1695286815,"format":"aside","headTitle":"Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]O[/dropcap]n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\u003c/p>\n\u003cp>[aside postID='arts_13923938']The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap] few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The year 2006 truly was a wild year for the Bay Area. I’m still healing from it, and I’m not the only one.\u003c/p>\n\n","blocks":[],"excerpt":"In 2006, unbridled young energy fueled the hyphy movement. But beneath it all? That's where it gets real.","status":"publish","parent":0,"modified":1705003342,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1336},"headData":{"title":"Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED","description":"In 2006, unbridled young energy fueled the hyphy movement. But beneath it all? That's where it gets real.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hyphy Kids Got Trauma: A Rightnowish Podcast Series","datePublished":"2023-09-21T09:00:15.000Z","dateModified":"2024-01-11T20:02:22.000Z","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/13934874/hyphy-kids-got-trauma","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\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>The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The year 2006 truly was a wild year for the Bay Area. I’m still healing from it, and I’m not the only one.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934874/hyphy-kids-got-trauma","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_69","arts_235","arts_21759"],"tags":["arts_1601","arts_10342","arts_10278","arts_6975","arts_21568","arts_1143","arts_19347","arts_3478"],"featImg":"arts_13935132","label":"arts_8720"},"arts_13932753":{"type":"posts","id":"arts_13932753","meta":{"index":"posts_1591205157","site":"arts","id":"13932753","score":null,"sort":[1691506112000]},"guestAuthors":[],"slug":"e-40-too-short-chuck-d-and-more-rap-legends-on-their-early-hip-hop-influences","title":"E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences","publishDate":1691506112,"format":"standard","headTitle":"E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>[aside postid='arts_13925958']“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>[aside postid='arts_13932488']It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>[aside postid='arts_13931795']“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>[aside postid='arts_13927349']“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>[aside postid='arts_13932030']Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find out more about hip-hop history with \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, a KQED Arts & Culture series about the underrecognized influence and background of Bay Area rap.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Sugarhill Gang’s “Rapper’s Delight” looms large as an influence, but it's not the only place these icons found inspiration.","status":"publish","parent":0,"modified":1705005179,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":51,"wordCount":2486},"headData":{"title":"E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences | KQED","description":"The Sugarhill Gang’s “Rapper’s Delight” looms large as an influence, but it's not the only place these icons found inspiration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences","datePublished":"2023-08-08T14:48:32.000Z","dateModified":"2024-01-11T20:32:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jonathan Landrum Jr., Gary Gerard Hamilton ","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932753/e-40-too-short-chuck-d-and-more-rap-legends-on-their-early-hip-hop-influences","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\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 least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925958","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932488","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931795","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find out more about hip-hop history with \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, a KQED Arts & Culture series about the underrecognized influence and background of Bay Area rap.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932753/e-40-too-short-chuck-d-and-more-rap-legends-on-their-early-hip-hop-influences","authors":["byline_arts_13932753"],"categories":["arts_1","arts_7862","arts_69","arts_75"],"tags":["arts_21384","arts_10659","arts_1601","arts_10278","arts_831","arts_1420","arts_20994","arts_3478","arts_3800"],"featImg":"arts_13932763","label":"arts"},"arts_13931355":{"type":"posts","id":"arts_13931355","meta":{"index":"posts_1591205157","site":"arts","id":"13931355","score":null,"sort":[1689270344000]},"guestAuthors":[],"slug":"michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","title":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland","publishDate":1689270344,"format":"standard","headTitle":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Walking around 15th Street in Oakland on a Friday afternoon — past beloved eateries like Minto’s Jamaican Restaurant & Bar, Baba’s House and Hoza Pizzeria — reminds me of what makes the Bay Area such a vibrant, lively place to be.\u003c/p>\n\u003cp>The region is also struggling: we’ve made headlines in recent months for crime, the fentanyl crisis and other challenges. Many of those criticisms are arguably hyperbolized, or oversimplifications of social issues with systemic root causes. But there are undoubtedly real shortcomings that make it difficult for longtime residents, particularly creatives and working- and middle-class families, to thrive.\u003c/p>\n\u003cp>Personally, I’ve grappled with what it means to be from a place that doesn’t have many accessible spaces left, and I wonder about the psychological consequences of that daily erasure. It’s no secret that Bay Area cities \u003ca href=\"https://www.cnbc.com/2023/05/26/most-expensive-cities-to-raise-a-child-in-the-us.html\">regularly lead the nation as the most expensive zip codes\u003c/a> in which to raise a family.\u003c/p>\n\u003cp>Michael Sneed — an East Oakland rapper, producer and vocalist — explores this reality on his latest EP, \u003ci>Junior Varsity Blues\u003c/i>. The record is a poetic manifesto, colored by jaded grief about displacement and his changing community. But he doesn’t shy away from expressing his hometown pride, either. Having started rapping at age 15, the 24-year-old is now unlocking his vocal superpowers to share narratives about Black joy, personal malaise, reclamation, nostalgia and the importance of friendships amid the swirling chaos of tech-fueled capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13880362 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"three young men sit on a sofa in a music studio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed (center) at Different Fur Studios in San Francisco with Mikos da Gawd (left) and WADE08 (right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sneed grew up in the 100s section of Deep East Oakland with his parents and older sisters. He lives on a block that is still predominantly Black, where close-knit families support each other. He’s fortunate, Sneed tells me. But for many lifelong Oaklanders, particularly Black, Latinx and Pacific Islanders, \u003ca href=\"https://bayareaequityatlas.org/node/65531\">the city’s dramatic shifts have made it nearly impossible to remain.\u003c/a>\u003c/p>\n\u003cp>It’s not news that the Bay Area’s inequities disproportionately affect the Black community. “The slow churn of the erasure of the region’s historic communities that birthed the Black Panther Party and raised the likes of Maya Angelou and Etta James is well underway,” \u003ca href=\"https://capitalbnews.org/climate-reparations-bay-area/\">writes Adam Mahoney\u003c/a>, in a piece on climate reparations, reporting that the nine-county region’s Black population has decreased by 20% since 1990, while the total population has grown by 25%.\u003c/p>\n\u003cp>As we wander downtown Oakland, Sneed recalls the city he grew up in, and what he most misses about it: poetry slams and open mics for youth, Monta Ellis on the Golden State Warriors, and most importantly, his peers and friends who have had to move away.\u003c/p>\n\u003cfigure id=\"attachment_13931359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg\" alt=\"A young Oakland rapper leans against a wall in Oakland on a sunny day\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed poses for a portrait in Oakland. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one has been immediately displaced in my family, but I’ve had peers who can’t find housing because it’s too expensive,” he says. “There’s no reason why there should be people houseless on freeways in tents. It shouldn’t be a thing. The whole purpose of having a government is to prevent that and to protect the people, especially if you have a government with as much money as the United States and California. There’s no reason.”\u003c/p>\n\u003cp>Following a\u003ca href=\"https://www.youtube.com/watch?v=8BAPTZcMtMI\"> song collaboration and high-profile tour with P-Lo,\u003c/a> Sneed returned to The Town more attuned than ever to what makes the Bay Area simultaneously special and intolerable. A particularly poignant example of his gospel-inspired sound is “\u003ca href=\"https://www.youtube.com/watch?v=MGuS7hnPNyc\">Paw Patrol\u003c/a>,” accompanied by a music video filmed in his neighborhood that evokes a homely retro vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MGuS7hnPNyc\u003c/p>\n\u003cp>Forced migration and gentrification are prevalent themes in his music, especially on tracks like \u003ca href=\"https://www.kqed.org/news/11940879/michael-sneed-city\">“City,” which outline the rapper’s frustrations with houselessness and unaffordable rents. \u003c/a>With a high-pitched voice that many have compared to Chicago’s Chance the Rapper, Sneed weaves in and out of intonations with a choir-trained precision that borders on falsetto, presenting a simple but profound question as the song’s hook: “Ayo the block don’t look the same as it used to, where my city go?”\u003c/p>\n\u003cp>Combined with deep reflections about his family’s health (most notably, the painful loss of his grandmother and aunt), the birth of his niece, playing basketball as a teenager, and criticisms of the tech industry, the seven-track project presents a layered portrait of a young, Black man who graduated from Howard University who is living as joyfully as he can under the crushing weight of Northern California’s demands. It’s a theme many local artists have explored in their music. But with Sneed, there’s a touch of theatrics and a goofy lovability that’s rare in East Oakland rap.\u003c/p>\n\u003cp>One of the album’s standout singles, “The Answer,” draws from the artist’s love of hoops (functioning as a reference to the iconic point guard, Allen Iverson, who was known as both A.I. and The Answer in his playing days) while expressing his flamboyance with clever wordplay: “When I was five I used to get in trouble for coloring out of the lines/ why if you colored they want you to stay in the line/ I feel like A.I. up in his prime.” The video, which is titled “the world’s first A.I. music video,” reached 16,000 views in one month (and no, it is not the world’s first A.I. music video).\u003c/p>\n\u003cfigure id=\"attachment_13925558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed performs at Brick and Mortar Music Hall in San Francisco on Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t thinking of \u003ca href=\"https://www.kqed.org/arts/13928457/chatgpt-says-these-are-the-best-bay-area-rap-albums-of-all-time\">artificial intelligence \u003c/a>at all,” Sneed tells me inside The Hatch, a Black-owned bar in the city, while sipping on a non-alcoholic lemonade. “That song to me is kind of using Allen Iverson as this guy who did his own thing. He wore the baggy shorts, the gold chains. He said ‘I’m gonna be so hip-hop that it makes you uncomfortable.’ And he was almost punished because of that. [This song is about] using him, or his avatar, as a way to highlight Black men like that.”\u003c/p>\n\u003cp>“A.I. was so fearless and unapologetically himself and hip-hop, and it kind of gave athletes [and] people of the culture in general freedom to express themselves in spaces that aren’t necessarily hip-hop or basketball,” he continues. “That’s tight about him. I don’t think he gets enough props for that. In a way, he was postmodernist.”\u003c/p>\n\u003cp>Basketball is a major element of \u003cem>Junior Varsity Blues\u003c/em>, with fictional skits of a team tryout peppering the 23-minute project. It’s the only sport Sneed grew up playing, and it’s how he bonded with his peers and family members. For an artsy kid, it gave him an unexpected outlet.\u003c/p>\n\u003cp>“Even though I wasn’t good, it was important to me,” he admits. “I was always daydreaming, never paying attention. I dressed goofy. I showed up [to play basketball] in church socks. But it’s how I met a lot of friends in high school.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VwCgGd-dDn0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>With \u003ca href=\"https://www.theringer.com/nba-draft/2023/3/28/23657469/amen-ausar-thompson-twins-2023-nba-draft-overtime-elite\">his younger twin cousins recently entering the NBA as nationally touted prospects\u003c/a>, Sneed appreciates what athletics can provide for a community. But he doesn’t overly glamorize the sport, either. His music regularly veers into his more niche interests — like anime (which his Nickelodeon’s \u003cem>Avatar\u003c/em>-inspired tagline, “Yip! Yip!” makes clear in every verse) and Broadway musical productions like \u003ci>The Lion King\u003c/i> and \u003ci>Wicked \u003c/i>(his EP features a song titled “WICKED”).\u003c/p>\n\u003cp>Despite his introspective nerdisms, though, it’s not all “\u003ca href=\"https://www.youtube.com/watch?v=poIXEf0k9oo\">Hula Hoop\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=6BJPSKr0DBQ\">Hopscotch\u003c/a>” games for Sneed. Beyond the lighthearted inner child hardwired into his raps, his songs inevitably return to heavy subject matter, like contemplating the death of Black Panther Party leaders, having emotional withdrawals while withdrawing money from the bank and losing faith in God over slow-paced, self-produced instrumentals. Songs like “It’s Impossible! It’s a Miracle!” serve as cathartic hymnals, presenting the rapper in his most vulnerable state as he rattles off a litany of impossible life challenges.\u003c/p>\n\u003cp>“There was so much adversity [at the time of writing the song]. Mending felt like it would be a miracle,” Sneed says. “I’m only myself because of how hard things can be. I need someone to tell me it’ll be alright. I’m always trying to put that in my music. It’s really just me speaking to myself. If my words can help someone else through those tough Monday mornings, then alright. That’s powerful. It’s to help me, and to help others.”\u003c/p>\n\u003cfigure id=\"attachment_13931357\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg\" alt=\"A young Oakland rapper leans against the glass window outside of the Fox Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in front of the Fox Theatre. Sneed grew up consuming theatre and his roots now influence his music. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently an unsigned artist, the ascendant Oaklander is considering a move to Los Angeles, where other successful East Bay artists like Kehlani, G Eazy and P-Lo have already relocated. It’s relatively common for Bay Area artists — particularly rappers — to leave the Bay. There’s a cross-national migratory route to Atlanta that has been popularized by Too $hort and Iamsu!. And, of course there’s New York City, which is the current residence of \u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurreccion\u003c/a> and serves as a part-time getaway for \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast., one of Sneed’s best friends\u003c/a> and closest collaborators. \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">It’s a phenomenon that KQED’s Pendarvis Harshaw once dubbed “\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\">the role of the Bay Area expatriate\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">” in music.\u003c/a>\u003c/p>\n\u003cp>Even if Sneed can’t afford to remain in his city of birth, or feels like artistic opportunities are greater elsewhere, he plans to stay connected to his home in the East Bay. He’s done it before, when he left Oakland for Washington D.C. to attend university, then came back. The temporary move expanded his sense of self and place, bolstering his appreciation — and complex understanding — for his return.\u003c/p>\n\u003cp>Regardless of wherever Sneed lands, he’ll take East Oakland with him. As he declares on “WICKED,” “I’m not a vibe, I’m a symbol to my city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Michael Sneed’s \u003ca href=\"https://open.spotify.com/album/1SIeFvO8So4ow0vcFosVQ6\">‘Junior Varsity Blues’ \u003c/a> is available on all streaming platforms. His recent tourmate, P-Lo, will be at \u003ca href=\"https://twitter.com/p_lo/status/1676792144466710528\">STUNNA’s Shop at Stashed SF\u003c/a> (2360 3rd St., SF) on Sat., July 15 from 4 – 8 p.m. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"On ‘Junior Varsity Blues,’ the ascendant rapper-producer grapples with the changing face of his hometown.","status":"publish","parent":0,"modified":1705005280,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1863},"headData":{"title":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland | KQED","description":"On ‘Junior Varsity Blues,’ the ascendant rapper-producer grapples with the changing face of his hometown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland","datePublished":"2023-07-13T17:45:44.000Z","dateModified":"2024-01-11T20:34:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931355/michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking around 15th Street in Oakland on a Friday afternoon — past beloved eateries like Minto’s Jamaican Restaurant & Bar, Baba’s House and Hoza Pizzeria — reminds me of what makes the Bay Area such a vibrant, lively place to be.\u003c/p>\n\u003cp>The region is also struggling: we’ve made headlines in recent months for crime, the fentanyl crisis and other challenges. Many of those criticisms are arguably hyperbolized, or oversimplifications of social issues with systemic root causes. But there are undoubtedly real shortcomings that make it difficult for longtime residents, particularly creatives and working- and middle-class families, to thrive.\u003c/p>\n\u003cp>Personally, I’ve grappled with what it means to be from a place that doesn’t have many accessible spaces left, and I wonder about the psychological consequences of that daily erasure. It’s no secret that Bay Area cities \u003ca href=\"https://www.cnbc.com/2023/05/26/most-expensive-cities-to-raise-a-child-in-the-us.html\">regularly lead the nation as the most expensive zip codes\u003c/a> in which to raise a family.\u003c/p>\n\u003cp>Michael Sneed — an East Oakland rapper, producer and vocalist — explores this reality on his latest EP, \u003ci>Junior Varsity Blues\u003c/i>. The record is a poetic manifesto, colored by jaded grief about displacement and his changing community. But he doesn’t shy away from expressing his hometown pride, either. Having started rapping at age 15, the 24-year-old is now unlocking his vocal superpowers to share narratives about Black joy, personal malaise, reclamation, nostalgia and the importance of friendships amid the swirling chaos of tech-fueled capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13880362 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"three young men sit on a sofa in a music studio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed (center) at Different Fur Studios in San Francisco with Mikos da Gawd (left) and WADE08 (right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sneed grew up in the 100s section of Deep East Oakland with his parents and older sisters. He lives on a block that is still predominantly Black, where close-knit families support each other. He’s fortunate, Sneed tells me. But for many lifelong Oaklanders, particularly Black, Latinx and Pacific Islanders, \u003ca href=\"https://bayareaequityatlas.org/node/65531\">the city’s dramatic shifts have made it nearly impossible to remain.\u003c/a>\u003c/p>\n\u003cp>It’s not news that the Bay Area’s inequities disproportionately affect the Black community. “The slow churn of the erasure of the region’s historic communities that birthed the Black Panther Party and raised the likes of Maya Angelou and Etta James is well underway,” \u003ca href=\"https://capitalbnews.org/climate-reparations-bay-area/\">writes Adam Mahoney\u003c/a>, in a piece on climate reparations, reporting that the nine-county region’s Black population has decreased by 20% since 1990, while the total population has grown by 25%.\u003c/p>\n\u003cp>As we wander downtown Oakland, Sneed recalls the city he grew up in, and what he most misses about it: poetry slams and open mics for youth, Monta Ellis on the Golden State Warriors, and most importantly, his peers and friends who have had to move away.\u003c/p>\n\u003cfigure id=\"attachment_13931359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg\" alt=\"A young Oakland rapper leans against a wall in Oakland on a sunny day\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed poses for a portrait in Oakland. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one has been immediately displaced in my family, but I’ve had peers who can’t find housing because it’s too expensive,” he says. “There’s no reason why there should be people houseless on freeways in tents. It shouldn’t be a thing. The whole purpose of having a government is to prevent that and to protect the people, especially if you have a government with as much money as the United States and California. There’s no reason.”\u003c/p>\n\u003cp>Following a\u003ca href=\"https://www.youtube.com/watch?v=8BAPTZcMtMI\"> song collaboration and high-profile tour with P-Lo,\u003c/a> Sneed returned to The Town more attuned than ever to what makes the Bay Area simultaneously special and intolerable. A particularly poignant example of his gospel-inspired sound is “\u003ca href=\"https://www.youtube.com/watch?v=MGuS7hnPNyc\">Paw Patrol\u003c/a>,” accompanied by a music video filmed in his neighborhood that evokes a homely retro vibe.\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/MGuS7hnPNyc'\n title='//www.youtube.com/embed/MGuS7hnPNyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forced migration and gentrification are prevalent themes in his music, especially on tracks like \u003ca href=\"https://www.kqed.org/news/11940879/michael-sneed-city\">“City,” which outline the rapper’s frustrations with houselessness and unaffordable rents. \u003c/a>With a high-pitched voice that many have compared to Chicago’s Chance the Rapper, Sneed weaves in and out of intonations with a choir-trained precision that borders on falsetto, presenting a simple but profound question as the song’s hook: “Ayo the block don’t look the same as it used to, where my city go?”\u003c/p>\n\u003cp>Combined with deep reflections about his family’s health (most notably, the painful loss of his grandmother and aunt), the birth of his niece, playing basketball as a teenager, and criticisms of the tech industry, the seven-track project presents a layered portrait of a young, Black man who graduated from Howard University who is living as joyfully as he can under the crushing weight of Northern California’s demands. It’s a theme many local artists have explored in their music. But with Sneed, there’s a touch of theatrics and a goofy lovability that’s rare in East Oakland rap.\u003c/p>\n\u003cp>One of the album’s standout singles, “The Answer,” draws from the artist’s love of hoops (functioning as a reference to the iconic point guard, Allen Iverson, who was known as both A.I. and The Answer in his playing days) while expressing his flamboyance with clever wordplay: “When I was five I used to get in trouble for coloring out of the lines/ why if you colored they want you to stay in the line/ I feel like A.I. up in his prime.” The video, which is titled “the world’s first A.I. music video,” reached 16,000 views in one month (and no, it is not the world’s first A.I. music video).\u003c/p>\n\u003cfigure id=\"attachment_13925558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed performs at Brick and Mortar Music Hall in San Francisco on Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t thinking of \u003ca href=\"https://www.kqed.org/arts/13928457/chatgpt-says-these-are-the-best-bay-area-rap-albums-of-all-time\">artificial intelligence \u003c/a>at all,” Sneed tells me inside The Hatch, a Black-owned bar in the city, while sipping on a non-alcoholic lemonade. “That song to me is kind of using Allen Iverson as this guy who did his own thing. He wore the baggy shorts, the gold chains. He said ‘I’m gonna be so hip-hop that it makes you uncomfortable.’ And he was almost punished because of that. [This song is about] using him, or his avatar, as a way to highlight Black men like that.”\u003c/p>\n\u003cp>“A.I. was so fearless and unapologetically himself and hip-hop, and it kind of gave athletes [and] people of the culture in general freedom to express themselves in spaces that aren’t necessarily hip-hop or basketball,” he continues. “That’s tight about him. I don’t think he gets enough props for that. In a way, he was postmodernist.”\u003c/p>\n\u003cp>Basketball is a major element of \u003cem>Junior Varsity Blues\u003c/em>, with fictional skits of a team tryout peppering the 23-minute project. It’s the only sport Sneed grew up playing, and it’s how he bonded with his peers and family members. For an artsy kid, it gave him an unexpected outlet.\u003c/p>\n\u003cp>“Even though I wasn’t good, it was important to me,” he admits. “I was always daydreaming, never paying attention. I dressed goofy. I showed up [to play basketball] in church socks. But it’s how I met a lot of friends in high school.”\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/VwCgGd-dDn0'\n title='//www.youtube.com/embed/VwCgGd-dDn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>With \u003ca href=\"https://www.theringer.com/nba-draft/2023/3/28/23657469/amen-ausar-thompson-twins-2023-nba-draft-overtime-elite\">his younger twin cousins recently entering the NBA as nationally touted prospects\u003c/a>, Sneed appreciates what athletics can provide for a community. But he doesn’t overly glamorize the sport, either. His music regularly veers into his more niche interests — like anime (which his Nickelodeon’s \u003cem>Avatar\u003c/em>-inspired tagline, “Yip! Yip!” makes clear in every verse) and Broadway musical productions like \u003ci>The Lion King\u003c/i> and \u003ci>Wicked \u003c/i>(his EP features a song titled “WICKED”).\u003c/p>\n\u003cp>Despite his introspective nerdisms, though, it’s not all “\u003ca href=\"https://www.youtube.com/watch?v=poIXEf0k9oo\">Hula Hoop\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=6BJPSKr0DBQ\">Hopscotch\u003c/a>” games for Sneed. Beyond the lighthearted inner child hardwired into his raps, his songs inevitably return to heavy subject matter, like contemplating the death of Black Panther Party leaders, having emotional withdrawals while withdrawing money from the bank and losing faith in God over slow-paced, self-produced instrumentals. Songs like “It’s Impossible! It’s a Miracle!” serve as cathartic hymnals, presenting the rapper in his most vulnerable state as he rattles off a litany of impossible life challenges.\u003c/p>\n\u003cp>“There was so much adversity [at the time of writing the song]. Mending felt like it would be a miracle,” Sneed says. “I’m only myself because of how hard things can be. I need someone to tell me it’ll be alright. I’m always trying to put that in my music. It’s really just me speaking to myself. If my words can help someone else through those tough Monday mornings, then alright. That’s powerful. It’s to help me, and to help others.”\u003c/p>\n\u003cfigure id=\"attachment_13931357\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg\" alt=\"A young Oakland rapper leans against the glass window outside of the Fox Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in front of the Fox Theatre. Sneed grew up consuming theatre and his roots now influence his music. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently an unsigned artist, the ascendant Oaklander is considering a move to Los Angeles, where other successful East Bay artists like Kehlani, G Eazy and P-Lo have already relocated. It’s relatively common for Bay Area artists — particularly rappers — to leave the Bay. There’s a cross-national migratory route to Atlanta that has been popularized by Too $hort and Iamsu!. And, of course there’s New York City, which is the current residence of \u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurreccion\u003c/a> and serves as a part-time getaway for \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast., one of Sneed’s best friends\u003c/a> and closest collaborators. \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">It’s a phenomenon that KQED’s Pendarvis Harshaw once dubbed “\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\">the role of the Bay Area expatriate\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">” in music.\u003c/a>\u003c/p>\n\u003cp>Even if Sneed can’t afford to remain in his city of birth, or feels like artistic opportunities are greater elsewhere, he plans to stay connected to his home in the East Bay. He’s done it before, when he left Oakland for Washington D.C. to attend university, then came back. The temporary move expanded his sense of self and place, bolstering his appreciation — and complex understanding — for his return.\u003c/p>\n\u003cp>Regardless of wherever Sneed lands, he’ll take East Oakland with him. As he declares on “WICKED,” “I’m not a vibe, I’m a symbol to my city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Michael Sneed’s \u003ca href=\"https://open.spotify.com/album/1SIeFvO8So4ow0vcFosVQ6\">‘Junior Varsity Blues’ \u003c/a> is available on all streaming platforms. His recent tourmate, P-Lo, will be at \u003ca href=\"https://twitter.com/p_lo/status/1676792144466710528\">STUNNA’s Shop at Stashed SF\u003c/a> (2360 3rd St., SF) on Sat., July 15 from 4 – 8 p.m. \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>\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/13931355/michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_11374","arts_5786","arts_8505","arts_10278","arts_1332","arts_7321","arts_1143","arts_1803","arts_1401","arts_3478"],"featImg":"arts_13931358","label":"arts"},"arts_13930886":{"type":"posts","id":"arts_13930886","meta":{"index":"posts_1591205157","site":"arts","id":"13930886","score":null,"sort":[1687964467000]},"guestAuthors":[],"slug":"madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1","title":"Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop","publishDate":1687964467,"format":"video","headTitle":"Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Picture this: You’re on the dance floor at a Bay Area function, and “\u003ca href=\"https://youtu.be/6vE6oUc0t4o\">Feelin’ Myself\u003c/a>” by Mac Dre pumps through the speakers. The whole room erupts with joy, and everyone chants the lyrics: “I’m sicker than SARS / higher than Mars.” Then the beat stops and the crowd screams: “And I treat my bitch like an ATM card!”\u003c/p>\n\u003cp>There’s power in this ritual, which has been a mainstay at local clubs and house parties since Mac Dre’s hyphy anthem came out in 2004. The music allows us to \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">partake in a collective experience\u003c/a>, and to feel a sense of Bay Area pride at a crucial time when so many have been pushed out of this unaffordable region.\u003c/p>\n\u003cp>But, scratching below the surface, “Feelin’ Myself” and many of our beloved, local ’90s and 2000s anthems — Dru Down’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">Pimp of the Year\u003c/a>,” D-Lo’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">No Hoe\u003c/a>” — contain casual references to violence against and the exploitation of women.\u003c/p>\n\u003cp>Pimp culture is in Bay Area hip-hop’s DNA as much as the liberation politics of the Black Panthers. Some of the region’s \u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">earliest rappers based their personas on blaxploitation films\u003c/a> like 1973’s \u003cem>The Mack\u003c/em>, which was shot in Oakland and featured real-life pimps and sex workers. Not to mention, \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">some of these original MCs \u003cem>were\u003c/em> actual pimps\u003c/a>. As hip-hop \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">became a commercial force in the late ’80s\u003c/a>, albums like Too Short’s \u003cem>Born to Mack\u003c/em> helped define the Bay Area’s style and identity for the rest of the nation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But considering that the Bay Area is an international hub for sex trafficking, this art reflects a dangerous reality.\u003c/p>\n\u003cp>In our new vodcast, \u003cem>What’s Pimpin’?\u003c/em>, women rappers and activists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a> (aka MADlines), \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a> and \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> take back the mic. Across three episodes, the three hosts facilitate candid discussions about the disproportionate rates of violence Black women face, and how systemic racism and wealth inequality breed desperate conditions where pimp culture thrives. They also get deep, drawing from their personal experiences of moving through an Oakland rap scene that at times espouses both misogynistic and revolutionary ideals. [aside postid='arts_13930867,arts_13931295,arts_13931108']\u003c/p>\n\u003cp>As Clifford writes in her essay, “\u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">It’s Time to Unpack Pimp Culture in Bay Area Hip-Hop\u003c/a>,” pimp culture has roots in the exploitative power dynamics that have been part of American culture since colonialism and slavery: “We can sugarcoat the truth, but at the root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.”\u003c/p>\n\u003cp>Stay tuned for \u003cem>What’s Pimpin’? \u003c/em>episodes two and three dropping on July 5 and July 12. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya, lead producer\u003c/span>\u003c/em>\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>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help from the \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> hotline at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>. The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"MADlines, RyanNicole and Coco Peila discuss pimp culture, and open up about their experiences in rap.","status":"publish","parent":0,"modified":1705005335,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":602},"headData":{"title":"Watch: 'What's Pimpin'?' Takes on Misogynoir in Bay Area Hip-Hop | KQED","description":"MADlines, RyanNicole and Coco Peila discuss pimp culture, and open up about their experiences in rap.","ogTitle":"","ogDescription":"","ogImgId":"arts_13930892","twTitle":"","twDescription":"","twImgId":"arts_13930892","socialTitle":"Watch: 'What's Pimpin'?' Takes on Misogynoir in Bay Area Hip-Hop %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch: ‘What’s Pimpin’?’ Takes on Misogynoir in Bay Area Hip-Hop","datePublished":"2023-06-28T15:01:07.000Z","dateModified":"2024-01-11T20:35:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/OU6ko1Qb97o","source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"nprByline":"KQED Arts & Culture","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Picture this: You’re on the dance floor at a Bay Area function, and “\u003ca href=\"https://youtu.be/6vE6oUc0t4o\">Feelin’ Myself\u003c/a>” by Mac Dre pumps through the speakers. The whole room erupts with joy, and everyone chants the lyrics: “I’m sicker than SARS / higher than Mars.” Then the beat stops and the crowd screams: “And I treat my bitch like an ATM card!”\u003c/p>\n\u003cp>There’s power in this ritual, which has been a mainstay at local clubs and house parties since Mac Dre’s hyphy anthem came out in 2004. The music allows us to \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">partake in a collective experience\u003c/a>, and to feel a sense of Bay Area pride at a crucial time when so many have been pushed out of this unaffordable region.\u003c/p>\n\u003cp>But, scratching below the surface, “Feelin’ Myself” and many of our beloved, local ’90s and 2000s anthems — Dru Down’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">Pimp of the Year\u003c/a>,” D-Lo’s “\u003ca href=\"https://youtu.be/HzaqvldQO3I\">No Hoe\u003c/a>” — contain casual references to violence against and the exploitation of women.\u003c/p>\n\u003cp>Pimp culture is in Bay Area hip-hop’s DNA as much as the liberation politics of the Black Panthers. Some of the region’s \u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">earliest rappers based their personas on blaxploitation films\u003c/a> like 1973’s \u003cem>The Mack\u003c/em>, which was shot in Oakland and featured real-life pimps and sex workers. Not to mention, \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">some of these original MCs \u003cem>were\u003c/em> actual pimps\u003c/a>. As hip-hop \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">became a commercial force in the late ’80s\u003c/a>, albums like Too Short’s \u003cem>Born to Mack\u003c/em> helped define the Bay Area’s style and identity for the rest of the nation.\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>But considering that the Bay Area is an international hub for sex trafficking, this art reflects a dangerous reality.\u003c/p>\n\u003cp>In our new vodcast, \u003cem>What’s Pimpin’?\u003c/em>, women rappers and activists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a> (aka MADlines), \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a> and \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> take back the mic. Across three episodes, the three hosts facilitate candid discussions about the disproportionate rates of violence Black women face, and how systemic racism and wealth inequality breed desperate conditions where pimp culture thrives. They also get deep, drawing from their personal experiences of moving through an Oakland rap scene that at times espouses both misogynistic and revolutionary ideals. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930867,arts_13931295,arts_13931108","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Clifford writes in her essay, “\u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">It’s Time to Unpack Pimp Culture in Bay Area Hip-Hop\u003c/a>,” pimp culture has roots in the exploitative power dynamics that have been part of American culture since colonialism and slavery: “We can sugarcoat the truth, but at the root, pimp culture is about exploitation. Ignoring this reality risks harming some of the most marginalized people in the Bay Area. I’m talking about poor folks, and about Black, brown and Indigenous women, in addition to LGBTQ people. I promise you, they’re already paying the ultimate price.”\u003c/p>\n\u003cp>Stay tuned for \u003cem>What’s Pimpin’? \u003c/em>episodes two and three dropping on July 5 and July 12. \u003cem>\u003cspan style=\"font-weight: 400\">— Nastia Voynovskaya, lead producer\u003c/span>\u003c/em>\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>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help from the \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a> hotline at 800-656-4673 or via chat at \u003ca href=\"http://online.rainn.org\">online.rainn.org\u003c/a>. The \u003ca href=\"https://humantraffickinghotline.org/en\">National Human Trafficking Hotline\u003c/a> is available at 888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1","authors":["byline_arts_13930886"],"categories":["arts_1","arts_2303","arts_835","arts_69"],"tags":["arts_11374","arts_8505","arts_10342","arts_10278","arts_17464","arts_19579","arts_19347","arts_3478","arts_20984"],"featImg":"arts_13930890","label":"source_arts_13930886"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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