Rightnowish's Pendarvis Harshaw on 'Hyphy Kids Got Trauma'
The Bay’s (Overlooked) Contributions to Hip-Hop
Did Mac Dre Really Go to Prison Because of His Lyrics?
Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'
‘It’s Pure Energy’: How Hyphy Came to Define Bay Area Hip-Hop
Blackalicious MC Gift of Gab to Receive Kidney Transplant—With Fans' Help
Oakland Museum's Hip-Hop Exhibit Highlights Bay Area Influences
Hop in, Your Lyft Rapper Has Arrived
Preserving the Legacy of Fresno's Hmong B-Boys
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He is a contributing editor for \u003cem>That’s My Word\u003c/em>, KQED's series on the history of Bay Area hip-hop.","avatar":"https://secure.gravatar.com/avatar/ede45b04898456ad0893a2811e78b0a2?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"news","roles":["contributor"]},{"site":"hiphop","roles":["contributor"]}],"headData":{"title":"Eric Arnold | KQED","description":"Contributing Editor, 'That's My Word'","ogImgSrc":"https://secure.gravatar.com/avatar/ede45b04898456ad0893a2811e78b0a2?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ede45b04898456ad0893a2811e78b0a2?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/earnold"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11963258":{"type":"posts","id":"news_11963258","meta":{"index":"posts_1591205157","site":"news","id":"11963258","score":null,"sort":[1696413628000]},"guestAuthors":[],"slug":"rightnowishs-pendarvis-harshaw-on-hyphy-kids-got-trauma","title":"Rightnowish's Pendarvis Harshaw on 'Hyphy Kids Got Trauma'","publishDate":1696413628,"format":"audio","headTitle":"Rightnowish’s Pendarvis Harshaw on ‘Hyphy Kids Got Trauma’ | KQED","labelTerm":{},"content":"\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\">\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\">\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\">\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\">\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\">\n\u003cdiv class=\"p-rich_text_section\">\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"c-message__reply_bar c-message_kit__thread_replies\" role=\"presentation\" data-qa=\"reply_bar\" data-stringify-ignore=\"true\">\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">2006 was the height of the hyphy movement — a time of exuberant, goofy, frenetic energy. But there was so much more going on beneath the surface.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish host Pendarvis Harshaw would know — he was a budding journalist with a front-row seat to the culture. Today, he talks with us about his four-part series, “Hyphy Kids Got Trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">Hyphy Kids Got Trauma: A Rightnowish Podcast Series\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC1856160776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hey, just a quick heads up. This episode contains explicit language. I’m Ericka Cruz Guevarra and welcome to The Bay, local news to keep you rooted. 2006 was a big year in the Bay Area. It was the year of white tees and Stunna shades when Too Short dropped “Blow the Whistle” and E-40 released my ghetto report card with the hit, “Tell Me When to Go.” It was the height of the hyphy movement, but there was so much more going on. Oakland was having a bad year with gun violence, overpolicing, and the onset of gentrification loomed. And this is all where my colleague and Rightnowish host Pendarvis Harshaw, starts his newest series, Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>2006, I leave Oakland and go to Washington, D.C., and I start to see how people view the Bay Area from the outside. And I’m like, Oh, you. I think it’s all fun and games I think is goofy. No, this hyperactive energy actually comes from really a void in a lot of ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Yeah. I’ve never thought of the words hyphy and trauma in the same sentence, but Pen would know. He was a budding journalist with a front row seat to the movement in 2006. And today, we talk with him about the sounds and scars of the time and explore the hyphy movement as you’ve never heard before. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Pen, this series of yours, Hyphy Kids Got Trauma takes place in 2006, the height of the hyphy movement. Can I tell you where I was in 2006 and during the hyphy movement?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Please bring me into your world.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So I was, I’m going to date myself, 11 years old, going to middle school in Sassoon City, California. I was on MySpace even though my parents didn’t want me to have a MySpace. Definitely had a pair of stunner shades. I would say I probably was experiencing the hyphy movement really on the radio and online, like on the drives that my family would take every week to Vallejo to go visit our family out there. Be Wild 94 nine. When I was at Cameo Camille listening to the hyphy music in that way, and then on people’s MySpace pages. So that’s where I was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>This is made for you. This is made for the kid who who was there but wasn’t fully there but can reminisce. It’s touch points.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, I feel like I was experiencing the hive movement. I’d say like from the back seat. You had a front row seat to this time in Bay Area hip hop history. Can you explain where you were in all of this?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Yeah. Talk about seats. I got my first car from an auction like the Alameda County Police auction in Livermore. This bucket, Chrysler that I got with my student aid check from Laney College. And that’s how we got around. I was 18, going on 19. Just graduated high school. I had applied and had been accepted to Howard University in D.C. and I knew I wanted to do journalism. So I had this camera and I went everywhere I went. I just filmed it and we would hit everything from community events to parties to sideshows. And that living on the edge, I think, really is what kept us going. We knew it was dangerous, but it was enticingly dangerous, and that’s what made it fun. And that’s where we found freedom. And that’s largely what this piece is about.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, that’s like, amazing to think about. You were a baby journalist. You were a college student living in Oakland at the center of this, I think, very youth driven movement. And you were a witness to this, like very exuberant time. But this series alludes to something more that was happening there, this idea that have kids got trauma. What do you think people often misunderstand about the hyphy movement?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>The term hyphy itself comes from a hyper active person. I often heard it when somebody is describing a dog off the leash, like, Oh, that’s the hyphy pitbull means stay away from that. So the term just starting new and how it’s used and applied to folks, you know, it was already off a little bit. When people think of hyphy, especially like on the national scene. So keep in mind, in 2006 I leave Oakland and go to Washington, D.C. for college, and I start to see how people view the Bay Area from the outside. And I’m like, Oh, you. I think it’s all fun and games I think is goofy. Like, no, this hyperactive energy actually comes from really a void. A lot of us born with parents who were addicted to drugs and that that hyperactive energy often turned malicious. And I don’t think it was depicted that way once it hit, the national media hyphy became a little little more friendly, a lot goofier and easier to digest.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You were just alluding to this pen, but what else was happening in Oakland in 2006? What is the context of the hyphy movement during this time?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>So as E-40 might get a report card album which features the song Tell Me When to Go and to? Blow the Whistle. Album and song start to blow up and people are dancing and partying at the same time. Oakland is witnessing an uptick in homicides where that year 2006, 148 people were reportedly killed in the city of Oakland. In January of that year. I lost a friend by the name of Willie Clay in November of that year. I lost a friend by the name of Marcel Campbell. And in between, I just remember so many R.I.P. memorials and people with airbrushed T-shirts that say R.I.P. on them and pamphlets from funerals in the dashboard of a Buick lightsabers at the Sideshow. So people are partying while still mourning.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Now that I have the language to express, oh, that’s what we were going through. We were processing this trauma. And so as I start to kind of pull back the layers of what was happening, it’s not just the 114 homicides. It’s also the amount of unemployment. It was the fact that you have predatory housing loans, overpolicing. Oakland Police Department went into federal receivership in 2003. And so this podcast, it starts off with, yeah, talking about going down and shaking your dress. But yet slowly but surely, they start to keep pulling back these layers and see why these hyphy kids are so hyphy.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Episode one starts with a very personal experience of yours. The moment that you found out that a friend of yours named Willie Clay, who was an old middle school classmate, used to play ball with ride razor scooters with, was actually killed. Why did you start the series there Pen?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Willie Clay was one of the first close friends that I lost to gun violence over the past two decades. When I think about how many people I know who have been killed, I think back to Willie Clay story. So I wanted to start there because it had that lasting impact on me as an 18 year old kind of stepping out into the world. It also happened in January of a very monumental year. So I thought that was the best place to start, especially from when to tell my story in the context of what was happening around me.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, the series dives into the ways that that kind of violence that people were experiencing in Oakland directly led to this new wave of talent. Can you talk about how that happened?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>While I’m on one side of the neighborhood mourning for the loss of Willie Clay, on the other side of the community, there’s a brother by the name of Beeda Weeda, who’s an artist whose music is on the rise.\u003c/p>\n\u003cp>\u003cstrong>*\u003c/strong>music clip*\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>You know, after a number of incidents in the community beat, his management suggested that he record instead of in the neighborhood known as the Dubs and East Oakland. He recorded the high road building, which is a building owned by the legendary all mighty Hieroglyphics. Hip hop crew idolize the wind a little bit. It started recording at the Hero building and when he got in, essentially kicked in the door for a whole bunch of new talent from the Bay Area. I’m specifically from Oakland, an artist who still make music to this day. Everyone from your Jay Starling. Thank you. Hey, let him preserve this track. Nick it don’t call me. I’m sorry. Beck Shady. Nate. Hey. How was that? Go through the ghetto to say through the halls. Get the clapping that you niggas like around. Pull out. I’m bringing back Filthy Rich from seminary who’s doing magnificent things in my piece. Stand up in this front line. When I’m in, I’m straight. Oh, jeez. From my hood. That kind of story. Beyond just music. These are people who created businesses and sustain their families. And yet, like, music is one thing, but to create real generational change. That’s what happened there.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And I know one thing that pushed beat Twitter to the hero building was the gun violence in his community and gun violence that had hit him personally. And I know you talked to Taj Massey of the Souls of Mischief, really, about how that trauma is manifested in bittersweet as music itself. Right. Can you talk about how Taj described the sound of Bittersweet as music when he first heard it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Beeda’s music? He has this one song called We Ain’t Listening.\u003c/p>\n\u003cp>*music clip*\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>When Tajai talks about it, he talks about it like it’s almost demonic. You know, the way that people describe hip hop, like in the negative way. Like, oh, what are these kids doing? That’s devil music. That’s really what hip hop is in general. Rapping, Like we just rapping, you know. And so to me, it exemplified the same feeling that maybe, you know, raising Hell or Rock Box or something. That. Dude. No, no, no, no. You know, or it’s like a jungle sometimes. Like it exemplified that spirit of there’s a whole other world out here that you are not being exposed to, and we’re going to make it sound beautiful over music.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>And when I heard that at 18, it spoke to me. It wasn’t like, I’m going to miss you. It’s like, Oh, I miss my friends. Or what’s happening with society, What’s going on? It wasn’t Marvin Gaye or anything like that. It was like aggressive. It was something to roll my windows down to like smoke and drive and like, really provided a vent for me, my friends and my community. I was nervous to ask people about trauma and how they express it, and a lot of folks were like, Yeah, man, we express it by like smiles and like laughter and like, partying aggressively.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that idea is also represented in this viral video that you shot of Stomper, the Oakland A’s mascot in the early days of YouTube, which, by the way, I literally saw someone the other day post that video on Instagram, and I just wanted to be like, Do you know who took that video? I know the person who took his hand.\u003c/p>\n\u003cp>*video clip*\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Can you tell me about that video that you shot and and the role that it played in in this episode for you and in sort of being a real, I think, visual representation as well of this idea that trauma is very much represented and can be seen in the culture of the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Episode two starts with me showing a video of Stomper, the Oakland A’s mascot, dancing at a E-40 record release party in Emeryville in 2006. Crazy. Oh. Stompers, a goofy gig and having fun. The people around him are having fun. Hugs and smiles. And then I watched it again. I was like, Wait, what song is playing in the background? It’s E-40 happy to be here, in which he’s talking essentially about surviving hard times and losing loved ones along the way. And then I’m watching the video even closely. And I mean, it’s, you know, it’s pixelated. It’s 26, right? But I can see that one of the people has a airbrushed t shirt on and it says R.I.P. across his chest as he’s dancing and gig and having fun.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>I’m like, those are signs of what we were experiencing at that time. I don’t think we knew at the time that we were like expressing pain, but surf dancing or being just doing hip hop. I feel like that was just something we did. And again, in retrospect of looking at it like, Oh, the biggest turf dance video that is on the Internet right now is turfing in the rain, where a group of young men are on a corner in East Oakland honoring their deceased loved one. Like that speaks volumes of the culture of turf dancing.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, speaking of YouTube, as we were just talking about, there are four total episodes of Have Kids Got Trauma. And I know the third focuses on kind of like the concurrent rise of social media during that time. You know, I think back on my experience, MySpace and YouTube really allowed, I think people like me from the suburbs to hear and see the music and the culture without being in the thick of it. Right. Like sort of experiencing it, but seeing it removed from the context to become this thing that really you just experience online. Once social media kind of did start to influence the movement. Penn What effect did you see it having on the sort of. Story that we know about the hyphy movement or that we think we know about the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>It was a combination of both social media and also major media outlets, shifting the narrative, taking the story and packaging it and selling it as they want to. Social media brought about a lot of copycat stuff. So I think I’ve talked to people about seeing Ghost riding the whip on video and then how they try to reenact it wherever they were. Now, how many times are videos posted of people go through the whip going wrong culture, It spreads, and when it spreads, people are going to take aspects of it and incorporate it into their lives and things are going to change and that is just natural. And then the unnatural side of things is when companies, big publications, record labels, they try to take something that’s a phenomenon, a youth phenomenon, and package it and send it back to the youth. And that’s one of the things that I saw. We saw it happen in hip hop in general and then specifically in the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I have to imagine that it was difficult and probably painful to revisit some of this time in this particular way. But why was it important for you to look back at this time through this lens? Like, what do you hope I guess to remember by doing this.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Before the podcast came out, I had the opportunity to share some of the things that I was working on with a group of people at the Academy of Sciences, and we talked about this area. That open discussion allowed me to see the benefit of telling the story is that people see that they’re not alone. A lot of folks shared with me personal trauma that they really hadn’t thought about from 2006 or even prior. And so this podcast project is an opportunity for the community to come together and say, you know what, collectively we did go do something at the start of the millennium and what can we learn now so that we don’t pass that trauma down to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>At the end of this project, just last week, I saw a kid I look at as a nephew speaking to Boots Riley at Fremont High School, and he was talking about the beauty of the hyphy movement and how it brought people together. My kids were born in 2006, and so he looks at it, you know, kind of like fondly. And also it’s awesome that he has that perspective on the hyphy movement because obviously his dad did something right to ensure that it didn’t get passed down to him. Whatever traumas his father experienced then didn’t get passed on him. That’s what I really wanted to do, is acknowledge what we went through and be clear about the causes of them and see see it so that we don’t pass them down to the next generation.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>What do you tell your daughter now about the hyphy movement and how do you think about this idea of like not passing your that trauma down to her?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Getting a little ahead of myself, but my next project or next piece, a next podcast that I’m working on is about parenthood and music, how music is a teaching tool. And I realize I don’t talk much about the hyphy movement with her. I mean, she’s seven and there’s a lot of vulgarity in the hyphy music. And so, like, maybe, maybe that’s the reason, like we’ve, we’ve listened to globally. That’s all we listen to too. Sure. Like, oh, too short, like, you know, getting it or, you know, like kind of uplifting to short.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You no blow the whistle for her.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Yeah. Not. Not yet. Not yet. I’ll wait til she comes home from school and she’s talking about. I’m like, What? You know about It’s time to teach you. We haven’t gotten to that point, but when we when we do, I definitely want to be able to provide context and full context and say it’s not just about going down. It’s it’s deeper than just shaking your dreads.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well Pen, thank you so much for this series and thank you for chatting with me. I appreciate it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Always a pleasure. Thank you. Thank you. Thank you.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Pendarvis Harshaw, host of Rightnowish a podcast from KQED that explores art and culture in the Bay Area. Episode three of this four part series, Hyphy Kids Got Trauma drops tomorrow. Make sure to subscribe to Rightnowish so you don’t miss the next episodes. This conversation with Pen was cut down and edited by senior editor Alan Montecillo. Maria Esquinca scored this episode and added all the tape. The Bay is a production of member supported KQED in San Francisco. I’m Ericka Cruz Guevarra. Thanks for listening. Peace.\u003c/p>\n\n","blocks":[],"excerpt":"2006 was the height of the hyphy movement — a time of exuberant, goofy, frenetic energy. But there was so much more going on beneath the surface.","status":"publish","parent":0,"modified":1700689057,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":47,"wordCount":3514},"headData":{"title":"Rightnowish's Pendarvis Harshaw on 'Hyphy Kids Got Trauma' | KQED","description":"2006 was the height of the hyphy movement — a time of exuberant, goofy, frenetic energy. But there was so much more going on beneath the surface.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC1856160776.mp3?updated=1696363183","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11963258/rightnowishs-pendarvis-harshaw-on-hyphy-kids-got-trauma","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\">\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\">\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\">\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\">\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\">\n\u003cdiv class=\"p-rich_text_section\">\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"c-message__reply_bar c-message_kit__thread_replies\" role=\"presentation\" data-qa=\"reply_bar\" data-stringify-ignore=\"true\">\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">2006 was the height of the hyphy movement — a time of exuberant, goofy, frenetic energy. But there was so much more going on beneath the surface.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish host Pendarvis Harshaw would know — he was a budding journalist with a front-row seat to the culture. Today, he talks with us about his four-part series, “Hyphy Kids Got Trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">Hyphy Kids Got Trauma: A Rightnowish Podcast Series\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC1856160776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hey, just a quick heads up. This episode contains explicit language. I’m Ericka Cruz Guevarra and welcome to The Bay, local news to keep you rooted. 2006 was a big year in the Bay Area. It was the year of white tees and Stunna shades when Too Short dropped “Blow the Whistle” and E-40 released my ghetto report card with the hit, “Tell Me When to Go.” It was the height of the hyphy movement, but there was so much more going on. Oakland was having a bad year with gun violence, overpolicing, and the onset of gentrification loomed. And this is all where my colleague and Rightnowish host Pendarvis Harshaw, starts his newest series, Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>2006, I leave Oakland and go to Washington, D.C., and I start to see how people view the Bay Area from the outside. And I’m like, Oh, you. I think it’s all fun and games I think is goofy. No, this hyperactive energy actually comes from really a void in a lot of ways.\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>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Yeah. I’ve never thought of the words hyphy and trauma in the same sentence, but Pen would know. He was a budding journalist with a front row seat to the movement in 2006. And today, we talk with him about the sounds and scars of the time and explore the hyphy movement as you’ve never heard before. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Pen, this series of yours, Hyphy Kids Got Trauma takes place in 2006, the height of the hyphy movement. Can I tell you where I was in 2006 and during the hyphy movement?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Please bring me into your world.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So I was, I’m going to date myself, 11 years old, going to middle school in Sassoon City, California. I was on MySpace even though my parents didn’t want me to have a MySpace. Definitely had a pair of stunner shades. I would say I probably was experiencing the hyphy movement really on the radio and online, like on the drives that my family would take every week to Vallejo to go visit our family out there. Be Wild 94 nine. When I was at Cameo Camille listening to the hyphy music in that way, and then on people’s MySpace pages. So that’s where I was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>This is made for you. This is made for the kid who who was there but wasn’t fully there but can reminisce. It’s touch points.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, I feel like I was experiencing the hive movement. I’d say like from the back seat. You had a front row seat to this time in Bay Area hip hop history. Can you explain where you were in all of this?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Yeah. Talk about seats. I got my first car from an auction like the Alameda County Police auction in Livermore. This bucket, Chrysler that I got with my student aid check from Laney College. And that’s how we got around. I was 18, going on 19. Just graduated high school. I had applied and had been accepted to Howard University in D.C. and I knew I wanted to do journalism. So I had this camera and I went everywhere I went. I just filmed it and we would hit everything from community events to parties to sideshows. And that living on the edge, I think, really is what kept us going. We knew it was dangerous, but it was enticingly dangerous, and that’s what made it fun. And that’s where we found freedom. And that’s largely what this piece is about.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, that’s like, amazing to think about. You were a baby journalist. You were a college student living in Oakland at the center of this, I think, very youth driven movement. And you were a witness to this, like very exuberant time. But this series alludes to something more that was happening there, this idea that have kids got trauma. What do you think people often misunderstand about the hyphy movement?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>The term hyphy itself comes from a hyper active person. I often heard it when somebody is describing a dog off the leash, like, Oh, that’s the hyphy pitbull means stay away from that. So the term just starting new and how it’s used and applied to folks, you know, it was already off a little bit. When people think of hyphy, especially like on the national scene. So keep in mind, in 2006 I leave Oakland and go to Washington, D.C. for college, and I start to see how people view the Bay Area from the outside. And I’m like, Oh, you. I think it’s all fun and games I think is goofy. Like, no, this hyperactive energy actually comes from really a void. A lot of us born with parents who were addicted to drugs and that that hyperactive energy often turned malicious. And I don’t think it was depicted that way once it hit, the national media hyphy became a little little more friendly, a lot goofier and easier to digest.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You were just alluding to this pen, but what else was happening in Oakland in 2006? What is the context of the hyphy movement during this time?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>So as E-40 might get a report card album which features the song Tell Me When to Go and to? Blow the Whistle. Album and song start to blow up and people are dancing and partying at the same time. Oakland is witnessing an uptick in homicides where that year 2006, 148 people were reportedly killed in the city of Oakland. In January of that year. I lost a friend by the name of Willie Clay in November of that year. I lost a friend by the name of Marcel Campbell. And in between, I just remember so many R.I.P. memorials and people with airbrushed T-shirts that say R.I.P. on them and pamphlets from funerals in the dashboard of a Buick lightsabers at the Sideshow. So people are partying while still mourning.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Now that I have the language to express, oh, that’s what we were going through. We were processing this trauma. And so as I start to kind of pull back the layers of what was happening, it’s not just the 114 homicides. It’s also the amount of unemployment. It was the fact that you have predatory housing loans, overpolicing. Oakland Police Department went into federal receivership in 2003. And so this podcast, it starts off with, yeah, talking about going down and shaking your dress. But yet slowly but surely, they start to keep pulling back these layers and see why these hyphy kids are so hyphy.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Episode one starts with a very personal experience of yours. The moment that you found out that a friend of yours named Willie Clay, who was an old middle school classmate, used to play ball with ride razor scooters with, was actually killed. Why did you start the series there Pen?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Willie Clay was one of the first close friends that I lost to gun violence over the past two decades. When I think about how many people I know who have been killed, I think back to Willie Clay story. So I wanted to start there because it had that lasting impact on me as an 18 year old kind of stepping out into the world. It also happened in January of a very monumental year. So I thought that was the best place to start, especially from when to tell my story in the context of what was happening around me.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, the series dives into the ways that that kind of violence that people were experiencing in Oakland directly led to this new wave of talent. Can you talk about how that happened?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>While I’m on one side of the neighborhood mourning for the loss of Willie Clay, on the other side of the community, there’s a brother by the name of Beeda Weeda, who’s an artist whose music is on the rise.\u003c/p>\n\u003cp>\u003cstrong>*\u003c/strong>music clip*\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>You know, after a number of incidents in the community beat, his management suggested that he record instead of in the neighborhood known as the Dubs and East Oakland. He recorded the high road building, which is a building owned by the legendary all mighty Hieroglyphics. Hip hop crew idolize the wind a little bit. It started recording at the Hero building and when he got in, essentially kicked in the door for a whole bunch of new talent from the Bay Area. I’m specifically from Oakland, an artist who still make music to this day. Everyone from your Jay Starling. Thank you. Hey, let him preserve this track. Nick it don’t call me. I’m sorry. Beck Shady. Nate. Hey. How was that? Go through the ghetto to say through the halls. Get the clapping that you niggas like around. Pull out. I’m bringing back Filthy Rich from seminary who’s doing magnificent things in my piece. Stand up in this front line. When I’m in, I’m straight. Oh, jeez. From my hood. That kind of story. Beyond just music. These are people who created businesses and sustain their families. And yet, like, music is one thing, but to create real generational change. That’s what happened there.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And I know one thing that pushed beat Twitter to the hero building was the gun violence in his community and gun violence that had hit him personally. And I know you talked to Taj Massey of the Souls of Mischief, really, about how that trauma is manifested in bittersweet as music itself. Right. Can you talk about how Taj described the sound of Bittersweet as music when he first heard it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Beeda’s music? He has this one song called We Ain’t Listening.\u003c/p>\n\u003cp>*music clip*\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>When Tajai talks about it, he talks about it like it’s almost demonic. You know, the way that people describe hip hop, like in the negative way. Like, oh, what are these kids doing? That’s devil music. That’s really what hip hop is in general. Rapping, Like we just rapping, you know. And so to me, it exemplified the same feeling that maybe, you know, raising Hell or Rock Box or something. That. Dude. No, no, no, no. You know, or it’s like a jungle sometimes. Like it exemplified that spirit of there’s a whole other world out here that you are not being exposed to, and we’re going to make it sound beautiful over music.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>And when I heard that at 18, it spoke to me. It wasn’t like, I’m going to miss you. It’s like, Oh, I miss my friends. Or what’s happening with society, What’s going on? It wasn’t Marvin Gaye or anything like that. It was like aggressive. It was something to roll my windows down to like smoke and drive and like, really provided a vent for me, my friends and my community. I was nervous to ask people about trauma and how they express it, and a lot of folks were like, Yeah, man, we express it by like smiles and like laughter and like, partying aggressively.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that idea is also represented in this viral video that you shot of Stomper, the Oakland A’s mascot in the early days of YouTube, which, by the way, I literally saw someone the other day post that video on Instagram, and I just wanted to be like, Do you know who took that video? I know the person who took his hand.\u003c/p>\n\u003cp>*video clip*\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Can you tell me about that video that you shot and and the role that it played in in this episode for you and in sort of being a real, I think, visual representation as well of this idea that trauma is very much represented and can be seen in the culture of the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Episode two starts with me showing a video of Stomper, the Oakland A’s mascot, dancing at a E-40 record release party in Emeryville in 2006. Crazy. Oh. Stompers, a goofy gig and having fun. The people around him are having fun. Hugs and smiles. And then I watched it again. I was like, Wait, what song is playing in the background? It’s E-40 happy to be here, in which he’s talking essentially about surviving hard times and losing loved ones along the way. And then I’m watching the video even closely. And I mean, it’s, you know, it’s pixelated. It’s 26, right? But I can see that one of the people has a airbrushed t shirt on and it says R.I.P. across his chest as he’s dancing and gig and having fun.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>I’m like, those are signs of what we were experiencing at that time. I don’t think we knew at the time that we were like expressing pain, but surf dancing or being just doing hip hop. I feel like that was just something we did. And again, in retrospect of looking at it like, Oh, the biggest turf dance video that is on the Internet right now is turfing in the rain, where a group of young men are on a corner in East Oakland honoring their deceased loved one. Like that speaks volumes of the culture of turf dancing.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, speaking of YouTube, as we were just talking about, there are four total episodes of Have Kids Got Trauma. And I know the third focuses on kind of like the concurrent rise of social media during that time. You know, I think back on my experience, MySpace and YouTube really allowed, I think people like me from the suburbs to hear and see the music and the culture without being in the thick of it. Right. Like sort of experiencing it, but seeing it removed from the context to become this thing that really you just experience online. Once social media kind of did start to influence the movement. Penn What effect did you see it having on the sort of. Story that we know about the hyphy movement or that we think we know about the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>It was a combination of both social media and also major media outlets, shifting the narrative, taking the story and packaging it and selling it as they want to. Social media brought about a lot of copycat stuff. So I think I’ve talked to people about seeing Ghost riding the whip on video and then how they try to reenact it wherever they were. Now, how many times are videos posted of people go through the whip going wrong culture, It spreads, and when it spreads, people are going to take aspects of it and incorporate it into their lives and things are going to change and that is just natural. And then the unnatural side of things is when companies, big publications, record labels, they try to take something that’s a phenomenon, a youth phenomenon, and package it and send it back to the youth. And that’s one of the things that I saw. We saw it happen in hip hop in general and then specifically in the hyphy movement.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I have to imagine that it was difficult and probably painful to revisit some of this time in this particular way. But why was it important for you to look back at this time through this lens? Like, what do you hope I guess to remember by doing this.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Before the podcast came out, I had the opportunity to share some of the things that I was working on with a group of people at the Academy of Sciences, and we talked about this area. That open discussion allowed me to see the benefit of telling the story is that people see that they’re not alone. A lot of folks shared with me personal trauma that they really hadn’t thought about from 2006 or even prior. And so this podcast project is an opportunity for the community to come together and say, you know what, collectively we did go do something at the start of the millennium and what can we learn now so that we don’t pass that trauma down to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>At the end of this project, just last week, I saw a kid I look at as a nephew speaking to Boots Riley at Fremont High School, and he was talking about the beauty of the hyphy movement and how it brought people together. My kids were born in 2006, and so he looks at it, you know, kind of like fondly. And also it’s awesome that he has that perspective on the hyphy movement because obviously his dad did something right to ensure that it didn’t get passed down to him. Whatever traumas his father experienced then didn’t get passed on him. That’s what I really wanted to do, is acknowledge what we went through and be clear about the causes of them and see see it so that we don’t pass them down to the next generation.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>What do you tell your daughter now about the hyphy movement and how do you think about this idea of like not passing your that trauma down to her?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Getting a little ahead of myself, but my next project or next piece, a next podcast that I’m working on is about parenthood and music, how music is a teaching tool. And I realize I don’t talk much about the hyphy movement with her. I mean, she’s seven and there’s a lot of vulgarity in the hyphy music. And so, like, maybe, maybe that’s the reason, like we’ve, we’ve listened to globally. That’s all we listen to too. Sure. Like, oh, too short, like, you know, getting it or, you know, like kind of uplifting to short.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You no blow the whistle for her.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Yeah. Not. Not yet. Not yet. I’ll wait til she comes home from school and she’s talking about. I’m like, What? You know about It’s time to teach you. We haven’t gotten to that point, but when we when we do, I definitely want to be able to provide context and full context and say it’s not just about going down. It’s it’s deeper than just shaking your dreads.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well Pen, thank you so much for this series and thank you for chatting with me. I appreciate it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: \u003c/strong>Always a pleasure. Thank you. Thank you. Thank you.\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>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Pendarvis Harshaw, host of Rightnowish a podcast from KQED that explores art and culture in the Bay Area. Episode three of this four part series, Hyphy Kids Got Trauma drops tomorrow. Make sure to subscribe to Rightnowish so you don’t miss the next episodes. This conversation with Pen was cut down and edited by senior editor Alan Montecillo. Maria Esquinca scored this episode and added all the tape. The Bay is a production of member supported KQED in San Francisco. I’m Ericka Cruz Guevarra. Thanks for listening. Peace.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11963258/rightnowishs-pendarvis-harshaw-on-hyphy-kids-got-trauma","authors":["8654","11802","11649"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_18477","news_29693","news_22598"],"featImg":"news_11963262","label":"source_news_11963258"},"news_11957970":{"type":"posts","id":"news_11957970","meta":{"index":"posts_1591205157","site":"news","id":"11957970","score":null,"sort":[1691748015000]},"guestAuthors":[],"slug":"the-bays-overlooked-contributions-to-hip-hop","title":"The Bay’s (Overlooked) Contributions to Hip-Hop","publishDate":1691748015,"format":"standard","headTitle":"The Bay’s (Overlooked) Contributions to Hip-Hop | KQED","labelTerm":{},"content":"\u003cp dir=\"ltr\">\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>This episode contains explicit language.\u003c/em>\u003c/p>\n\u003cp dir=\"ltr\">Hip-hop turns 50 years old today, and it’s no secret that the Bay Area gets overlooked.\u003c/p>\n\u003cp dir=\"ltr\">Today, Eric Arnold and Nastia Voynovskaya join us to talk about KQED’s yearlong series exploring the history of Bay Area hip-hop — and how our region has shaped hip-hop through the years.\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC4288213762&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/bayareahiphop/about\">That’s My Word\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">The Bay Area Was Hip-Hop Before There Was Hip-Hop\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations?fbclid=PAAaZcaqjnWQAiiryVrSIk6Al7RPtcyhHWfzhiKwZI3F7M0rBUYGFqBmyZtNs_aem_AUZ0PtDPz3MWlew-JR0jIwgFa-ybrWmHEhDnZ8FYJ6bn3tV7IFtSGjM-Yz8hrtQuNMU\">Hip-Hop’s 50th Anniversary: Where to Celebrate in the Bay Area\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://open.spotify.com/playlist/0qR8qB6JbTVhK2HDodBv4b?si=297f92cb403f4300\">That’s My Word, Spotify Playlists celebrating 50 years of Bay Area Hip Hop \u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\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>\u003c/li>\n\u003c/ul>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra and Welcome to the Bay. Local News to Keep You Rooted. Today marks 50 years of hip hop. This anniversary traces back to August 11th, 1973, when a teenage deejay Kool Herc, mixed records at a back to school party in the Bronx. But before that, long before hip hop even had a name, the Bay Area was laying the foundations of hip hop culture. Even if the region doesn’t get the credit.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>When I started digging into this, I noticed that there were all these things, all these really kind of foundational elements of hip hop that were not only identified with the Bay Area but originated with the Bay Area.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So today we’re talking about KQED’s That’s My Word series, a yearlong exploration of the Bay Area’s contributions to hip hop culture. We’ll talk about how the Bay has shaped some of the most important elements of the genre and how the Bay Area was hip hop before there even was hip hop. Stay with us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Bay Area hip hop is so diverse. We’re really talking about it in a geographic sense.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This is Nastia Voynovskaya, associate editor of KQED Arts and Culture. She co-edited KQED’s That’s My Word series, exploring the Bay’s contributions to hip hop with veteran hip hop journalist Eric Arnold.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>We’re talking about five decades of evolution and this region that has so many distinct cities with their own scenes. You know, we have Oakland. Vallejo. Richmond. San Francisco. San Jose is Palo Alto, Pittsburgh. Fairfield. All different corners of the bay. And the artists from those scenes cross-pollinate and collaborate and influence one another. Even when you go back to the eighties, when the Bay Area scene really started taking off. In Oakland alone, you have two short making mob music and rapping about the underworld of the streets.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>Just like we had to work for my eight years on the mark and I’m not joking. So to start coming straight from Oakland.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>You have Digital Underground making fun, funky, silly and expressive music that tells people it’s okay to be different and weird. My name is.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And you have M.C.Hammer making pop rap and dancing and entertaining.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And in San Francisco, there is Paris, who is known as the Black Panther of hip hop’s wisdom.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>So all of these elements, the street, the revolutionary, experimental and commercial aspects are mixing together and influencing each other, and they continue to do so. So there’s not one sound or one style of Bay Area hip hop, and it’s all of these things.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Eric Arnold, you’ve covered hip hop in the Bay Area for many years. Have you felt that Bay Area hip hop has been overlooked.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Almost every single day? I mean, it has it’s almost a defining characteristic of the bay, you know, And it it’s sort of the underground underdog mentality, the chip on the shoulder type thing, though we’re different where, you know, we’re not L.A., we’re not New York. But we made hella contributions to hip hop’s culture at its esthetic over the decades. You know, of course, we’ve created all these phrases like pushes that have gone on to become part of rap’s lexicon.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You wrote a piece for that’s My Word, titled The Bay Area was hip hop before there was hip hop. So I want to stick with you for a little bit. First of all, why go back to before hip hop was even a word?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Hip hop was created or invented in 1973, but it wasn’t even named until 1981. So that means that that it was a culture of flops. And in development that entire time, it was still evolving. It was still emerging. So when I started digging into this, I noticed that there were all of these things, all these really kind of foundational elements of hip hop that were not only identified with the Bay Area, but originated with the Bay Area prior to 1973 or, you know, concurrent with, you know, 1973 to 1981. Whatever time period, you you know, you want to put on that.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>In one of Eric’s pieces for that’s my word. He lays out three key ways that the Bay Area shaped hip hop that you can still see and hear today. The first is Boogaloo, a street dance movement pioneered by black youth in East Oakland. The second is Bay Area Funk. And third, the political movements that influenced a social consciousness in Bay Funk that we would later find in hip hop. Well, let me dig into Boogaloo with you. You describe it as sort of the ancestor of pop locking years before hip hop had a name and that it’s really this like whole culture with its own rituals and esthetic to it also, right?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>It is. Back in like 1964. It was youth driven. It came from the inner city. It was this inventive dance that kind of started with James Brown. But then people in East Oakland just started adding moves and developing this dance vocabulary and having competitive battles. As you do that, you actually create a cultural esthetic. So it becomes like this whole movement that spreads from East Oakland to West Oakland to North Oakland to Berkeley, to Emeryville, to Richmond, to San Francisco. When it gets to San Francisco, it’s called strutting. When it gets to Richmond, it’s called robotic. So it was very, very foundational and it occupied a place in sort of like the cultural milieu of the times that hip hop occupies now.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And then it eventually reaches L.A., Right. How does it sort of transform into some of the dances that we now associate with hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>With Boogaloo? There were certain techniques or groups that became foundational to that, get it taking where you kind of move your hand like a clock, like the like the second hand of a clock on double tripping, which is like kind of like a side to side motion where you’re kind of you’re going forward, but moving kind of side to side, kind of sideways, getting down. And the opening hit, which is like, you’re dancing, then all of a sudden you stop on the beat, we’re gonna die. Well, that got integrated into what L.A. was doing, which was locking The Oakland hit became the pop. So that added the pop to the lot. And then you get pop locking. And then when breakdancing becomes integrated with pop locking in L.A. in the early eighties, the Oakland hit or the pop becomes part of that esthetic.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I know. Aside from Boogaloo, another foundational element that you talk about in your piece is Bay Area Funk. How is Bay Area Funk in particular important to hip hop’s early sound and also esthetic and ideology?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So you had funk invented by James Brown, and James Brown was an established artist. Right. So he already had a sound. But when Sly Stone came up, he has, like, this entirely different approach. He was this musical prodigy raised in the church in Vallejo. He had produced psychedelic records. And he starts to emphasize the interplay between the bass and the drum a little bit more and also creates space in the music.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And his bass player, Larry Graham, created the slap bass sound of the Pet Express, which then becomes the ubiquitous sound of Bach. Every fan group picks up that sound.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>And all that stuff.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>But Sly Stone also crosses over to this mainstream multiethnic audience, and he’s able to do that while retaining a black identity so that every single black artist starts trying to get that sly Stone sound and do the same thing. And if you look at hip hop, hip hop has sort of embodied all of those characteristics.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And another, I think, characteristic of Bay Funk and in particular Sly Stone’s sort of version of Funk, is this sort of social consciousness that he brings to the music. Right? And I know you also sort of point to this social consciousness as really central to Bay Area hip hop. As we, of course, know, this region has this really long legacy of progressive politics and multicultural social justice movements. So how do these social movements in the Bay Area in particular also become foundational to hip hop everywhere?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So Bay Area, fuck it. You know, you mentioned that it was very progressive. I mean, it also censured women such as Sugar, Pride, as Tanto, the Pointer Sisters, and the Bride of Frankenstein.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And there was a time when all of a sudden, like Funk said, Well, we need to be relevant to these times. And people are talking about liberation movements. And that all started with the Bay Area.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And that that sort of because that’s a foundational element it sort of gets transposed into hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So the Black Panthers were happening at the same time that the funk movement was happening and the boogaloo movement was happening. But they went national very early on in like the late sixties. They had more than 30 national chapters at one point. And the Black Panthers actually had a punk band called the Lumpen that addressed political topics back in the day. They also had a newsletter that had a circulation of between 350 to 400000. So when you think about Chuck D’s quote, that rap is at CNN of Black America for the Panther newsletter was a CNN of Black America before there was CNN or even before there was rap.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>In 1968, the Black Panthers opened up a field office in Bronx River. Now, Bronx River is the birthplace of hip hop. And at that field office, they did outreach to the exact same. You became the first generation of New York hip hop. So literally, the Black Panther ideology is embedded in hip hop’s DNA, afros, the leather jackets, the sort of militant radical self-expression that they had. That’s all part of the esthetic.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Then you think about people like Tupac, whose parents were Panthers. He was a Panther cub. And Tupac sort of embodies this idea of the next generation and their expression. You know, not being Foxx, but being hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Nastia, I want to bring you in here and kind of come back to the present day as well. What are some of the ways that you see some of this history that Eric is talking about in hip hop today?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, I mean, Eric mentioned the nineties generation being Panther cubs. Now you have and the millennial and Gen Z generations, Panther, Grand Cub’s.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>League, one of the more popular Bay Area rappers out. You know Rex Fries has his dad kind of grew up around the Black Panthers and he infuses his music with that political consciousness even though he’s not a purely political artist. We are about.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>He and other rappers that are gaining prominence right now, like Le Russell and Samba, also talk about community healing and their own personal healing, which is I feel like that’s the way that our generation’s kind of evolving that conversation with more consciousness around mental health and things like that.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And then, you know, the other elements of Bay Area hip hop we’ve been talking about. And those conversation are still present and evolving in different ways.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And Larry June, who has a hit record out right now he’s kind of carrying over that funky sound but in a more modernized where he kind of has that old school player element that’s been foundational to Bay Area hip hop since the two short days.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>You’re out. Also have artists like PUA sweetie drawing from behavior move man making that sort of uptempo party music but in a current way and you know their music is gaining mainstream traction.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Yeah, I feel like something that I’ve also noticed about Bay Area Music is this almost sort of DIY, entrepreneurial, independent spirit that I think Eric was describing earlier is very sort of underdog. How is that sort of a characteristic of Bay Area hip hop? And and does that also to you have roots in some of the history that we were talking about?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>I mean, when you go back to. You know, artists selling tapes on consignment and selling out the trunk and outselling national artists. So the Bay Area was doing equal or better independently without radio play, without distribution. So I think that kind of typifies the independent mentality, having this mentality where you don’t feel like you have to conform to commercialism. But I also think that that connects to Afrofuturism and Afrofuturism as part of the Black Arts movement, which is also rooted in the Bay and rooted in Sun Ra and his type of expression. And then we see that in, you know, Bay Area rappers like Dell and Black Alicia’s and the Mystic Journeymen and how they’ve just come completely from left field and said, Okay. We’ve got this piano player stuff on one hand, but then we’ve got the super abstract backpack, stuff like that, and it’s all hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>He talks about artists like to for any 40 selling tapes out the trunk. You know that continued with CD is one those became available and then Bay area artists also really ran with the early social media like the pack and Little B really exploded on MySpace. So so did the hyphy movement, actually. And then, you know, artists like really embraced YouTube in its early days and people say that Mag Dres trill tbh predated blogging because he made these crazy DIY. A party documentary is about just all of his after hours escapades and kind of showing off like the sideshow culture and party culture of the bay. So Bay Area artists have always found a way, even if we don’t have the infrastructure of the mainstream music industry behind us. And I think, yeah, that underdog mentality still really defines the Bay.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong> Pilo on his song put me on some says last year they even like the bay You know that’s something that people sing along to Any time that plays in the club and just wear it as a badge of pride.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I want to look ahead here with the two of you. Nazia We’re celebrating 50 years of hip hop, but how are you thinking about where hip hop is heading, particularly here in the Bay Area?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Well, one really exciting thing we’ve been able to do with this project is include a lot of women’s voices and also kind of critically examine Bay Area hip hop with love and as fans and practitioners of the culture. The Bay Area hip hop scene is revolutionary and progressive in all these ways, but we’ve really seen misogyny get a huge pass because of that underdog mentality in the Bay Area. People have been hesitant to, you know, also criticize some aspects of the culture. But the scene is also evolving to include a lot more women’s voices. So now you have artists like Kinky Will Kill a stony alien marketeer.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Now I’m really excited to see how those conversations continue to develop, especially around women and queer and trans folks. These are all artists who are just super bold, expressive and captivating on stage, and I’m so excited to see how they’re going to evolve.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Well, I see it as a progression and I see it as a continuum and I see it as evolution. All of those things have continued to happen with hip hop in terms of it being a space where multiculturalism can flourish and come together. And we saw that with Sly Stone in, you know, everyday people, but we also saw it with to shore added lipids to shore it and you know, all the great Bay Area anthems, right? All of these things that brought people together and were really continuations of these social movements, these cultural movements, these political movements, these pushes for economic equity that began decades ago. And so history really is cyclical. When you look at the 16th Street train station in Oakland, it’s such a historic location. And knowing that it has all this history with with the Pullman porters. And then it was the place where they choreographed the turf dancers and tell me when to go really makes it seem like, you know, all that history is connected. Just one just one housekeeping thing. So we did mention Mac Dre R.I.P., but we also have to say R.I.P. to Dream. Gift of Gab. Zombie shot. Gee, all of our OG’s that we’ve lost along with Oscar Grant, all of our OGs that we’ve lost along the way who are still with us and we carry their memory to this day.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, The Jacka, too.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>The Jacka.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Traxamillion.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Traxamillion. Mr. C from RBL. I mean, the list goes on.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, but that’s a big reason for why we really want to thoroughly document and preserve this history, because unfortunately, we’re losing some of our hip hop legends.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, Eric and Nastia, I feel like I could talk to you all for so much longer than this. But thank you so much for coming on the show.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Thanks so much for having us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Yeah, thank you. I can’t I can’t wait for this to come out.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Nastia Voynovskaya, associate editor of arts and culture for KQED, and Eric Arnold, a veteran hip hop journalist and co contributing editor of KQED’s That’s My Word. Nastia, Eric and the whole team are going to continue their coverage of Bay Area hip hop throughout the year. The series is also led by KQED’s Pendarvis Harshaw and Gabe Meline. Check out all the amazing work that they’re doing on this project at Bay Area Hip hop dot com. We’ve also got a bunch of other links in our show notes, including where to celebrate 50 years of hip hop right here in the Bay.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC].\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This conversation was cut down and edited by producer Maria Esquinca. It was produced and scored by me. Alan Montecillo is our senior editor. The rest of our team here at KQED includes Jen Chien, the director of podcasts. Katie Sprenger, our podcast operations manager. We also get audience engagement support from César Saldaña. Holly Kernan is our chief content officer. I’m Ericka Cruz Guevarra. Thanks for listening. Peace\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp style=\"font-weight: 400\">\n\u003c/p>\n","blocks":[],"excerpt":"Today, Eric Arnold and Nastia Voynovskaya join us to talk about KQED’s yearlong series exploring the history of Bay Area hip-hop.","status":"publish","parent":0,"modified":1700689203,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":3590},"headData":{"title":"The Bay’s (Overlooked) Contributions to Hip-Hop | KQED","description":"Today, Eric Arnold and Nastia Voynovskaya join us to talk about KQED’s yearlong series exploring the history of Bay Area hip-hop.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC4288213762.mp3?updated=1691731712","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11957970/the-bays-overlooked-contributions-to-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>This episode contains explicit language.\u003c/em>\u003c/p>\n\u003cp dir=\"ltr\">Hip-hop turns 50 years old today, and it’s no secret that the Bay Area gets overlooked.\u003c/p>\n\u003cp dir=\"ltr\">Today, Eric Arnold and Nastia Voynovskaya join us to talk about KQED’s yearlong series exploring the history of Bay Area hip-hop — and how our region has shaped hip-hop through the years.\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC4288213762&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/bayareahiphop/about\">That’s My Word\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/arts/13924126/the-bay-area-was-hip-hop-before-there-was-hip-hop\">The Bay Area Was Hip-Hop Before There Was Hip-Hop\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://www.kqed.org/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations?fbclid=PAAaZcaqjnWQAiiryVrSIk6Al7RPtcyhHWfzhiKwZI3F7M0rBUYGFqBmyZtNs_aem_AUZ0PtDPz3MWlew-JR0jIwgFa-ybrWmHEhDnZ8FYJ6bn3tV7IFtSGjM-Yz8hrtQuNMU\">Hip-Hop’s 50th Anniversary: Where to Celebrate in the Bay Area\u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\u003ca href=\"https://open.spotify.com/playlist/0qR8qB6JbTVhK2HDodBv4b?si=297f92cb403f4300\">That’s My Word, Spotify Playlists celebrating 50 years of Bay Area Hip Hop \u003c/a>\u003c/li>\n\u003cli dir=\"ltr\">\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>\u003c/li>\n\u003c/ul>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\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 style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra and Welcome to the Bay. Local News to Keep You Rooted. Today marks 50 years of hip hop. This anniversary traces back to August 11th, 1973, when a teenage deejay Kool Herc, mixed records at a back to school party in the Bronx. But before that, long before hip hop even had a name, the Bay Area was laying the foundations of hip hop culture. Even if the region doesn’t get the credit.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>When I started digging into this, I noticed that there were all these things, all these really kind of foundational elements of hip hop that were not only identified with the Bay Area but originated with the Bay Area.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So today we’re talking about KQED’s That’s My Word series, a yearlong exploration of the Bay Area’s contributions to hip hop culture. We’ll talk about how the Bay has shaped some of the most important elements of the genre and how the Bay Area was hip hop before there even was hip hop. Stay with us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Bay Area hip hop is so diverse. We’re really talking about it in a geographic sense.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This is Nastia Voynovskaya, associate editor of KQED Arts and Culture. She co-edited KQED’s That’s My Word series, exploring the Bay’s contributions to hip hop with veteran hip hop journalist Eric Arnold.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>We’re talking about five decades of evolution and this region that has so many distinct cities with their own scenes. You know, we have Oakland. Vallejo. Richmond. San Francisco. San Jose is Palo Alto, Pittsburgh. Fairfield. All different corners of the bay. And the artists from those scenes cross-pollinate and collaborate and influence one another. Even when you go back to the eighties, when the Bay Area scene really started taking off. In Oakland alone, you have two short making mob music and rapping about the underworld of the streets.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>Just like we had to work for my eight years on the mark and I’m not joking. So to start coming straight from Oakland.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>You have Digital Underground making fun, funky, silly and expressive music that tells people it’s okay to be different and weird. My name is.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And you have M.C.Hammer making pop rap and dancing and entertaining.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And in San Francisco, there is Paris, who is known as the Black Panther of hip hop’s wisdom.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>So all of these elements, the street, the revolutionary, experimental and commercial aspects are mixing together and influencing each other, and they continue to do so. So there’s not one sound or one style of Bay Area hip hop, and it’s all of these things.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Eric Arnold, you’ve covered hip hop in the Bay Area for many years. Have you felt that Bay Area hip hop has been overlooked.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Almost every single day? I mean, it has it’s almost a defining characteristic of the bay, you know, And it it’s sort of the underground underdog mentality, the chip on the shoulder type thing, though we’re different where, you know, we’re not L.A., we’re not New York. But we made hella contributions to hip hop’s culture at its esthetic over the decades. You know, of course, we’ve created all these phrases like pushes that have gone on to become part of rap’s lexicon.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You wrote a piece for that’s My Word, titled The Bay Area was hip hop before there was hip hop. So I want to stick with you for a little bit. First of all, why go back to before hip hop was even a word?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Hip hop was created or invented in 1973, but it wasn’t even named until 1981. So that means that that it was a culture of flops. And in development that entire time, it was still evolving. It was still emerging. So when I started digging into this, I noticed that there were all of these things, all these really kind of foundational elements of hip hop that were not only identified with the Bay Area, but originated with the Bay Area prior to 1973 or, you know, concurrent with, you know, 1973 to 1981. Whatever time period, you you know, you want to put on that.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>In one of Eric’s pieces for that’s my word. He lays out three key ways that the Bay Area shaped hip hop that you can still see and hear today. The first is Boogaloo, a street dance movement pioneered by black youth in East Oakland. The second is Bay Area Funk. And third, the political movements that influenced a social consciousness in Bay Funk that we would later find in hip hop. Well, let me dig into Boogaloo with you. You describe it as sort of the ancestor of pop locking years before hip hop had a name and that it’s really this like whole culture with its own rituals and esthetic to it also, right?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>It is. Back in like 1964. It was youth driven. It came from the inner city. It was this inventive dance that kind of started with James Brown. But then people in East Oakland just started adding moves and developing this dance vocabulary and having competitive battles. As you do that, you actually create a cultural esthetic. So it becomes like this whole movement that spreads from East Oakland to West Oakland to North Oakland to Berkeley, to Emeryville, to Richmond, to San Francisco. When it gets to San Francisco, it’s called strutting. When it gets to Richmond, it’s called robotic. So it was very, very foundational and it occupied a place in sort of like the cultural milieu of the times that hip hop occupies now.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And then it eventually reaches L.A., Right. How does it sort of transform into some of the dances that we now associate with hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>With Boogaloo? There were certain techniques or groups that became foundational to that, get it taking where you kind of move your hand like a clock, like the like the second hand of a clock on double tripping, which is like kind of like a side to side motion where you’re kind of you’re going forward, but moving kind of side to side, kind of sideways, getting down. And the opening hit, which is like, you’re dancing, then all of a sudden you stop on the beat, we’re gonna die. Well, that got integrated into what L.A. was doing, which was locking The Oakland hit became the pop. So that added the pop to the lot. And then you get pop locking. And then when breakdancing becomes integrated with pop locking in L.A. in the early eighties, the Oakland hit or the pop becomes part of that esthetic.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I know. Aside from Boogaloo, another foundational element that you talk about in your piece is Bay Area Funk. How is Bay Area Funk in particular important to hip hop’s early sound and also esthetic and ideology?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So you had funk invented by James Brown, and James Brown was an established artist. Right. So he already had a sound. But when Sly Stone came up, he has, like, this entirely different approach. He was this musical prodigy raised in the church in Vallejo. He had produced psychedelic records. And he starts to emphasize the interplay between the bass and the drum a little bit more and also creates space in the music.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And his bass player, Larry Graham, created the slap bass sound of the Pet Express, which then becomes the ubiquitous sound of Bach. Every fan group picks up that sound.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>And all that stuff.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>But Sly Stone also crosses over to this mainstream multiethnic audience, and he’s able to do that while retaining a black identity so that every single black artist starts trying to get that sly Stone sound and do the same thing. And if you look at hip hop, hip hop has sort of embodied all of those characteristics.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And another, I think, characteristic of Bay Funk and in particular Sly Stone’s sort of version of Funk, is this sort of social consciousness that he brings to the music. Right? And I know you also sort of point to this social consciousness as really central to Bay Area hip hop. As we, of course, know, this region has this really long legacy of progressive politics and multicultural social justice movements. So how do these social movements in the Bay Area in particular also become foundational to hip hop everywhere?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So Bay Area, fuck it. You know, you mentioned that it was very progressive. I mean, it also censured women such as Sugar, Pride, as Tanto, the Pointer Sisters, and the Bride of Frankenstein.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And there was a time when all of a sudden, like Funk said, Well, we need to be relevant to these times. And people are talking about liberation movements. And that all started with the Bay Area.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>And that that sort of because that’s a foundational element it sort of gets transposed into hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>So the Black Panthers were happening at the same time that the funk movement was happening and the boogaloo movement was happening. But they went national very early on in like the late sixties. They had more than 30 national chapters at one point. And the Black Panthers actually had a punk band called the Lumpen that addressed political topics back in the day. They also had a newsletter that had a circulation of between 350 to 400000. So when you think about Chuck D’s quote, that rap is at CNN of Black America for the Panther newsletter was a CNN of Black America before there was CNN or even before there was rap.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>In 1968, the Black Panthers opened up a field office in Bronx River. Now, Bronx River is the birthplace of hip hop. And at that field office, they did outreach to the exact same. You became the first generation of New York hip hop. So literally, the Black Panther ideology is embedded in hip hop’s DNA, afros, the leather jackets, the sort of militant radical self-expression that they had. That’s all part of the esthetic.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Then you think about people like Tupac, whose parents were Panthers. He was a Panther cub. And Tupac sort of embodies this idea of the next generation and their expression. You know, not being Foxx, but being hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Nastia, I want to bring you in here and kind of come back to the present day as well. What are some of the ways that you see some of this history that Eric is talking about in hip hop today?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, I mean, Eric mentioned the nineties generation being Panther cubs. Now you have and the millennial and Gen Z generations, Panther, Grand Cub’s.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>League, one of the more popular Bay Area rappers out. You know Rex Fries has his dad kind of grew up around the Black Panthers and he infuses his music with that political consciousness even though he’s not a purely political artist. We are about.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>He and other rappers that are gaining prominence right now, like Le Russell and Samba, also talk about community healing and their own personal healing, which is I feel like that’s the way that our generation’s kind of evolving that conversation with more consciousness around mental health and things like that.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And then, you know, the other elements of Bay Area hip hop we’ve been talking about. And those conversation are still present and evolving in different ways.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>And Larry June, who has a hit record out right now he’s kind of carrying over that funky sound but in a more modernized where he kind of has that old school player element that’s been foundational to Bay Area hip hop since the two short days.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>You’re out. Also have artists like PUA sweetie drawing from behavior move man making that sort of uptempo party music but in a current way and you know their music is gaining mainstream traction.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Yeah, I feel like something that I’ve also noticed about Bay Area Music is this almost sort of DIY, entrepreneurial, independent spirit that I think Eric was describing earlier is very sort of underdog. How is that sort of a characteristic of Bay Area hip hop? And and does that also to you have roots in some of the history that we were talking about?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>I mean, when you go back to. You know, artists selling tapes on consignment and selling out the trunk and outselling national artists. So the Bay Area was doing equal or better independently without radio play, without distribution. So I think that kind of typifies the independent mentality, having this mentality where you don’t feel like you have to conform to commercialism. But I also think that that connects to Afrofuturism and Afrofuturism as part of the Black Arts movement, which is also rooted in the Bay and rooted in Sun Ra and his type of expression. And then we see that in, you know, Bay Area rappers like Dell and Black Alicia’s and the Mystic Journeymen and how they’ve just come completely from left field and said, Okay. We’ve got this piano player stuff on one hand, but then we’ve got the super abstract backpack, stuff like that, and it’s all hip hop.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>He talks about artists like to for any 40 selling tapes out the trunk. You know that continued with CD is one those became available and then Bay area artists also really ran with the early social media like the pack and Little B really exploded on MySpace. So so did the hyphy movement, actually. And then, you know, artists like really embraced YouTube in its early days and people say that Mag Dres trill tbh predated blogging because he made these crazy DIY. A party documentary is about just all of his after hours escapades and kind of showing off like the sideshow culture and party culture of the bay. So Bay Area artists have always found a way, even if we don’t have the infrastructure of the mainstream music industry behind us. And I think, yeah, that underdog mentality still really defines the Bay.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong> Pilo on his song put me on some says last year they even like the bay You know that’s something that people sing along to Any time that plays in the club and just wear it as a badge of pride.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I want to look ahead here with the two of you. Nazia We’re celebrating 50 years of hip hop, but how are you thinking about where hip hop is heading, particularly here in the Bay Area?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Well, one really exciting thing we’ve been able to do with this project is include a lot of women’s voices and also kind of critically examine Bay Area hip hop with love and as fans and practitioners of the culture. The Bay Area hip hop scene is revolutionary and progressive in all these ways, but we’ve really seen misogyny get a huge pass because of that underdog mentality in the Bay Area. People have been hesitant to, you know, also criticize some aspects of the culture. But the scene is also evolving to include a lot more women’s voices. So now you have artists like Kinky Will Kill a stony alien marketeer.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Now I’m really excited to see how those conversations continue to develop, especially around women and queer and trans folks. These are all artists who are just super bold, expressive and captivating on stage, and I’m so excited to see how they’re going to evolve.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Well, I see it as a progression and I see it as a continuum and I see it as evolution. All of those things have continued to happen with hip hop in terms of it being a space where multiculturalism can flourish and come together. And we saw that with Sly Stone in, you know, everyday people, but we also saw it with to shore added lipids to shore it and you know, all the great Bay Area anthems, right? All of these things that brought people together and were really continuations of these social movements, these cultural movements, these political movements, these pushes for economic equity that began decades ago. And so history really is cyclical. When you look at the 16th Street train station in Oakland, it’s such a historic location. And knowing that it has all this history with with the Pullman porters. And then it was the place where they choreographed the turf dancers and tell me when to go really makes it seem like, you know, all that history is connected. Just one just one housekeeping thing. So we did mention Mac Dre R.I.P., but we also have to say R.I.P. to Dream. Gift of Gab. Zombie shot. Gee, all of our OG’s that we’ve lost along with Oscar Grant, all of our OGs that we’ve lost along the way who are still with us and we carry their memory to this day.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, The Jacka, too.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>The Jacka.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Traxamillion.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Traxamillion. Mr. C from RBL. I mean, the list goes on.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Yeah, but that’s a big reason for why we really want to thoroughly document and preserve this history, because unfortunately, we’re losing some of our hip hop legends.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, Eric and Nastia, I feel like I could talk to you all for so much longer than this. But thank you so much for coming on the show.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Nastia Voynovskaya: \u003c/strong>Thanks so much for having us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Eric Arnold: \u003c/strong>Yeah, thank you. I can’t I can’t wait for this to come out.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Nastia Voynovskaya, associate editor of arts and culture for KQED, and Eric Arnold, a veteran hip hop journalist and co contributing editor of KQED’s That’s My Word. Nastia, Eric and the whole team are going to continue their coverage of Bay Area hip hop throughout the year. The series is also led by KQED’s Pendarvis Harshaw and Gabe Meline. Check out all the amazing work that they’re doing on this project at Bay Area Hip hop dot com. We’ve also got a bunch of other links in our show notes, including where to celebrate 50 years of hip hop right here in the Bay.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[MUSIC].\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This conversation was cut down and edited by producer Maria Esquinca. It was produced and scored by me. Alan Montecillo is our senior editor. The rest of our team here at KQED includes Jen Chien, the director of podcasts. Katie Sprenger, our podcast operations manager. We also get audience engagement support from César Saldaña. Holly Kernan is our chief content officer. I’m Ericka Cruz Guevarra. Thanks for listening. Peace\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 style=\"font-weight: 400\">\n\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11957970/the-bays-overlooked-contributions-to-hip-hop","authors":["8654","11387","11802","11649","11839"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_18477","news_33016","news_22598","news_32314"],"featImg":"news_11958032","label":"source_news_11957970"},"news_11954252":{"type":"posts","id":"news_11954252","meta":{"index":"posts_1591205157","site":"news","id":"11954252","score":null,"sort":[1688032807000]},"guestAuthors":[],"slug":"did-mac-dre-really-go-to-prison-because-of-his-lyrics","title":"Did Mac Dre Really Go to Prison Because of His Lyrics?","publishDate":1688032807,"format":"standard","headTitle":"Did Mac Dre Really Go to Prison Because of His Lyrics? | KQED","labelTerm":{"term":33523,"site":"news"},"content":"\u003cp>\u003ca href=\"https://bit.ly/3rbaumh\">\u003cem>Read a transcript of this episode. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>One of the biggest stories in hip-hop right now is set to play out in a courtroom later this year, when \u003ca href=\"https://www.npr.org/2023/01/09/1147767380/rapper-young-thug-rico-trial-gunna\">Atlanta rapper Young Thug goes on trial\u003c/a> for gang-related activities. One of the key pieces of evidence cited in the indictment are his rap lyrics. [baycuriouspodcastinfo]\u003c/p>\n\u003cp>The phenomenon of rap songs being played in court dates back to the early ’90s, with an early example happening in the Bay Area during the trial of one of the region’s most famous rappers, Vallejo’s own Mac Dre.\u003c/p>\n\u003cp>There’s a lot of lore around what happened during Mac Dre’s trial, so as part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s yearlong project on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, Bay Curious set out to discover what really happened.\u003c/p>\n\u003ch2>A young career, derailed\u003c/h2>\n\u003cp>Before Mac Dre helped pioneer the \u003ca href=\"https://www.complex.com/music/a/steven-j-horowitz/hyphy-oral-history\">hyphy\u003c/a> movement and put the Bay Area’s hip-hop scene on the national map, he was a rising young rapper. He was barely out of high school and already had several hits to his name, like 1991’s “California Livin’,” a progenitor to the sun-soaked G-funk of Tupac’s later hit “California Love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hQAJgOa2AlE\u003c/p>\n\u003cp>But in March 1992, that burgeoning career came to an abrupt halt. Mac Dre and two friends were arrested while they were driving back to Vallejo from a trip to Fresno. His friends were charged with attempted robbery and Dre was charged with conspiracy to rob a bank.\u003c/p>\n\u003cp>No bank was robbed while they were in Fresno, but the police were surveilling the men through a wired informant, and they arrested Mac Dre for planning to rob a bank. He was ultimately found guilty and sentenced to five years in prison.\u003c/p>\n\u003cp>It’s been reported and widely circulated that the lyrics to his anti-police song, “Punk Police,” were used against him in court, and that the song helped convict him. But there’s a nagging contradiction at the heart of that belief. Namely, in the song “Punk Police,” Mac Dre says multiple times that he’s not a criminal. The song includes the lyrics, “I’m a dope rhyme dealer, not a money stealer.” So how could this song be connected to the conspiracy charge?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_jhexDAzoEM\u003c/p>\n\u003ch2>The song’s impact before the trial\u003c/h2>\n\u003cp>According to Wanda Salvatto, Mac Dre’s mother, to understand the role “Punk Police” played in Mac Dre’s trial, you need to go way back to the early ’80s when Mac Dre was a funny, optimistic kid who liked to rap.\u003c/p>\n\u003cp>“He kind of had the gift of gab. The gift of words and playing on words,” she said. “I’d say around 15, 16, 17, he always wrote rhymes and raps, and for Christmas that was stuff that he would ask for — a microphone, a keyboard.”\u003c/p>\n\u003cp>While in high school, Dre made some friends who liked to rap from another part of Vallejo called the Country Club Crest, or the Crest for short. Dre grew up in an upper middle-class neighborhood in Vallejo, but the Crest, on the northern edge of the city, was in decline. Across the nation, technological advancements and the outsourcing of jobs overseas decimated manufacturing industries such as steel, auto and meat-packing. Lower-paying service industry jobs replaced manufacturing ones, and this had a profound economic effect on Black neighborhoods like the Crest. For many people, employment and steady income became precarious, paving the way for crime and gang violence to take root.\u003c/p>\n\u003cp>Ray Luv, a rapper and close friend of Mac Dre’s at the time, remembers that period well, and living among the North Bay’s wealthy wine region.\u003c/p>\n\u003cp>“So you live in the ghetto in the middle of all of this wealth, but you don’t get to participate,” he said. “So drug dealing, prostitution, pimping, car thefts, jewelry store robberies, that became a thing. And most of the people that were doing it were in high school. They were kids, but they were kids that felt desperate. Felt hopeless. Felt like, ‘When I turn 18, what am I going to do?’”\u003c/p>\n\u003cp>Mac Dre’s friends started selling weed and crack cocaine to make money, and eventually Mac Dre got entangled in it.\u003c/p>\n\u003cp>“He would go there in the Crest and do it and come home,” Wanda remembered. “My whole thing was, ‘I’m going to work to provide, you know, there’s really no need for you to sell weed.’ Eventually, I understood he was doing it because of peer pressure.”\u003c/p>\n\u003cfigure id=\"attachment_11954264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954264\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-800x533.jpg\" alt=\"Paper photographs of young Black men lay on a table. In the top photo a man is pictured seated, wearing a dark grey sweat suit and a black Oakland Raiders cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family photos of Mac Dre belonging to his mother, Wanda Salvatto, laid out on a table in Vallejo on Monday, June 26, 2023. \u003ccite>(Raphaël Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dre got arrested and ended serving time in juvenile hall while he was still in high school. When he got out, he doubled down on his music. But now that he’d been in the system, he was being stopped and interrogated by the police more often.\u003c/p>\n\u003cp>“They were watching and harassing him, and it was just constant,” Wanda remembered.\u003c/p>\n\u003cp>Fed up with how the police were treating him, Mac Dre decided to use his music to air out his frustrations. In 1992, he released the song “Punk Police” detailing his relationship with the police at that time.\u003c/p>\n\u003cp>\u003cem>“Stop — I can’t take no mo’\u003c/em>\u003cbr>\n\u003cem>Why is the police steady knocking at my do’?\u003c/em>\u003cbr>\n\u003cem>24/7, the devils be trippin’\u003c/em>\u003cbr>\n\u003cem>They say some banks was robbed and I fit the description\u003c/em>\u003cbr>\n\u003cem>But that’s drama, so save it for your mama\u003c/em>\u003cbr>\n\u003cem>I’m not criminal minded, punk police, I’m a\u003c/em>\u003cbr>\n\u003cem>Dope rhyme dealer, not a money stealer”\u003c/em>\u003c/p>\n\u003cp>It might seem prescient that Mac Dre was rapping about being accused of robbing a bank before he actually faced charges. But what Mac Dre is referring to in the song is a spate of unsolved bank robberies that had been taking place in and around Vallejo. The police were suspicious of an alleged gang they called the Romper Room, which was the name Mac Dre and his friends gave themselves.\u003c/p>\n\u003cp>“The Romper Room crew is a circle of friends,” said Ray Luv. He says they got the name from a children’s show that ran on public television. “It was really about friendship and loyalty. The Romper Room were the first real supporters of Mac Dre.”\u003c/p>\n\u003cp>But in the eyes of the police, the Romper Room was not a crew of friends but a gang of criminals, and they routinely stopped them and conducted raids where they lived. So, at 21 years old, Mac Dre released “Punk Police” in response to what he saw as unwarranted harassment.\u003c/p>\n\u003cp>Professor and hip-hop historian Davey D remembers when the song came out.\u003c/p>\n\u003cp>[aside postID='arts_13923938']“Everybody loved it. It was our version of ‘F*** the Police.’ Knowing what the police were doing in Vallejo and going up to the Crest, I think most people could relate to it,” he said.\u003c/p>\n\u003cp>Wanda, however, remembers the backlash.\u003c/p>\n\u003cp>“My youngest son, who was 11 years [younger than Dre], he’d be outside playing or we’d be in the garage doing whatever and police would just be cruising through, just to let us know, they’re watching,” she said. “Before the song came out, police didn’t come in this neighborhood. There was really no reason to. But because of that, that’s when the real harassment really started.”\u003c/p>\n\u003ch2>The trial of Mac Dre\u003c/h2>\n\u003cp>The same year that the song was released, Mac Dre was arrested for conspiracy to rob a bank in Fresno. The trial lasted one week, and according to court transcripts, “Punk Police” was played, but it was not central to the prosecution’s case.\u003c/p>\n\u003cp>I spoke to one of the prosecuting attorneys and he confirmed that their case hinged on two main pieces of evidence: an audio recording from the informant, in which Mac Dre can be heard saying “shoot out the surveillance cameras,” and a gun that was found during a raid on Mac Dre’s apartment several months prior. They were able to trace the bullets of the gun to one of the prior unsolved bank robberies in Vallejo.\u003c/p>\n\u003cp>Mac Dre’s lawyer countered that most of the audio recording was hard to hear and that the clip of Mac Dre was taken out of context — it could have been a rap or a joke. (In his 2022 autobiography, J. Diggs, one of Mac Dre’s co-defendants, says that Dre was making a joke.) As for the gun, Mac Dre’s lawyer pointed out that the weapon was not registered in his name nor did it have Mac Dre’s fingerprints on it, emphasizing that it could belong to anybody as multiple people were sleeping at Mac Dre’s apartment at the time of the raid. [emailsignup newslettername=\"baycurious\" align=\"right\"]\u003c/p>\n\u003cp>“Punk Police” made a brief appearance in the trial. According to court transcripts, the prosecution played the song to establish that the police were not retaliating against Mac Dre because of it. One of the prosecutors called a detective to the stand and asked, “Was there and is there a campaign against Mr. Andre Hicks to prosecute him because of this song?” The detective responded, “No,” after which the prosecutor concluded his questioning.\u003c/p>\n\u003cp>After less than a day of deliberation, the jury came back with a guilty verdict.\u003c/p>\n\u003cp>“We were devastated,” Wanda said. “Andre didn’t rob any banks. We thought, you know, it would all work out. But it didn’t.”\u003c/p>\n\u003cp>Ray Luv wasn’t convinced by the evidence used against Dre.\u003c/p>\n\u003cp>“I think in most cases that probably would not stick. If he was a white kid from Mill Valley, Marin County, he would not have gone to prison on that evidence,” he said.\u003c/p>\n\u003cp>Despite the detective’s testimony at the trial, to those connected to the case and who saw it play out in real time, the connection between “Punk Police” and Mac Dre’s conviction is obvious.\u003c/p>\n\u003cp>“To this day, I will say that it was a clapback to the ‘Punk Police’ song,” said Davey D. “It’s kind of like, ‘Okay. We’ll find something on you. You’re going to slip up and we’re going to be there to catch you.’”\u003c/p>\n\u003cfigure id=\"attachment_11954280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/Mac-Dre-1996.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954280\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/Mac-Dre-1996-800x540.jpg\" alt=\"Interior of a recording studio, with 3 men standing side by side in the midfield. One man sits in the foreground with his back to the camera.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mac Dre (standing center) in the studio with some friends after being released from prison in 1996. \u003ccite>(Courtesy of Wanda Salvatto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dre’s legacy and rap lyrics on trial\u003c/h2>\n\u003cp>Mac Dre was released from prison in 1996 after serving four years of his five-year sentence. He hit the ground running and was more prolific in making music than ever, releasing 10 albums in less than 10 years. He introduced a style of party music, known as hyphy, that would become synonymous with the Bay Area and gain popularity across the country.\u003c/p>\n\u003cp>Then in 2004, while performing in Kansas City, he was \u003ca href=\"https://www.passionweiss.com/2021/05/11/who-killed-mac-dre/#:~:text=According%20to%20his%20story%2C%20Whitmill,and%20driving%20the%20black%20Infiniti.\">killed in a drive-by shooting\u003c/a>. The details around his death have remained murky, with various unofficial reports from media outlets pointing to different suspects. The official police investigation, however, came up empty, and no one was ever charged for his murder.\u003c/p>\n\u003cp>While his lyrics may not have convicted him, Mac Dre’s case was one of the first to introduce rap lyrics during criminal proceedings. His case contributed to the antagonistic relationship that exists between hip-hop and the criminal justice system — one where art, most often the art of Black men, can be taken as an admission of guilt. (Just a few years after Mac Dre’s trial, Sacramento rappers \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#c-bo-jailed-for-his-lyrics\">C-Bo\u003c/a> and \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#x-raided-sent-to-prison-after-his-lyrics-are-used-as-evidence-in-trial\">X-Raided\u003c/a> were both put behind bars after their lyrics were introduced as evidence in court.)\u003c/p>\n\u003cp>Charis Kubrin, a criminologist and UC Irvine professor, says the reason that the use of rap lyrics in trials is so concerning is because they could be used to exploit existing racial biases.\u003c/p>\n\u003cp>“What’s happening in the minds of jurors, we think, are that folks are saying, ‘gosh, if someone could write these kinds of lyrics, they could do these kinds of crimes,’” she said. “Now, nobody thinks that with other music genres, or nobody’s thinking Quentin Tarantino is doing that with his violent films. But when it comes to rap music, it’s much easier to make that leap. And that’s because of stereotypes and biases that we have about young men of color who are primarily making the music.”\u003c/p>\n\u003cp>There are signs of change, however. In 2022, California lawmakers passed \u003ca href=\"https://www.youtube.com/watch?v=1MuXzJx8T-A&ab_channel=CaliforniaGovernorGavinNewsom\">AB 2799\u003c/a>, becoming the first state to prohibit the use of rap lyrics in criminal trials. Kubrin says it’s a good first step, but more can be done.\u003c/p>\n\u003cp>As for Mac Dre, even in his absence his legacy continues to grow. Every year, on July 5, people come together to celebrate his birthday, “Mac Dre Day,” in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NVR_kYZiPps\u003c/p>\n\u003cp>His old friend Ray Luv is currently the Chief Operating Officer of Thizz Entertainment, the label that Mac Dre founded to distribute his music, and he helps organize the yearly Mac Dre Day celebrations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“In the beginning, when his career was taking off, he was sent to jail,” Ray Luv said. “Then he came home from jail and when his career starts taking off, he ended up getting killed. That’s a part of why I think we all toast him so much. The guy never really did too much wrong for what he received from this world. He was a good guy.”\u003c/p>\n\n","blocks":[],"excerpt":"There's a lot of lore around what happened during Mac Dre's trial, and whether his rap lyrics helped put him in prison. \r\n","status":"publish","parent":0,"modified":1701975966,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":47,"wordCount":2429},"headData":{"title":"Did Mac Dre Really Go to Prison Because of His Lyrics? | KQED","description":"There's a lot of lore around what happened during Mac Dre's trial, and whether his rap lyrics helped put him in prison. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sourceUrl":"https://kqed.org/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/pdst.fm/e/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7458072277.mp3?updated=1687994153","sticky":false,"nprByline":"Jessica Kariisa","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11954252/did-mac-dre-really-go-to-prison-because-of-his-lyrics","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://bit.ly/3rbaumh\">\u003cem>Read a transcript of this episode. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>One of the biggest stories in hip-hop right now is set to play out in a courtroom later this year, when \u003ca href=\"https://www.npr.org/2023/01/09/1147767380/rapper-young-thug-rico-trial-gunna\">Atlanta rapper Young Thug goes on trial\u003c/a> for gang-related activities. One of the key pieces of evidence cited in the indictment are his rap lyrics. \u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The phenomenon of rap songs being played in court dates back to the early ’90s, with an early example happening in the Bay Area during the trial of one of the region’s most famous rappers, Vallejo’s own Mac Dre.\u003c/p>\n\u003cp>There’s a lot of lore around what happened during Mac Dre’s trial, so as part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s yearlong project on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, Bay Curious set out to discover what really happened.\u003c/p>\n\u003ch2>A young career, derailed\u003c/h2>\n\u003cp>Before Mac Dre helped pioneer the \u003ca href=\"https://www.complex.com/music/a/steven-j-horowitz/hyphy-oral-history\">hyphy\u003c/a> movement and put the Bay Area’s hip-hop scene on the national map, he was a rising young rapper. He was barely out of high school and already had several hits to his name, like 1991’s “California Livin’,” a progenitor to the sun-soaked G-funk of Tupac’s later hit “California Love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hQAJgOa2AlE'\n title='//www.youtube.com/embed/hQAJgOa2AlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in March 1992, that burgeoning career came to an abrupt halt. Mac Dre and two friends were arrested while they were driving back to Vallejo from a trip to Fresno. His friends were charged with attempted robbery and Dre was charged with conspiracy to rob a bank.\u003c/p>\n\u003cp>No bank was robbed while they were in Fresno, but the police were surveilling the men through a wired informant, and they arrested Mac Dre for planning to rob a bank. He was ultimately found guilty and sentenced to five years in prison.\u003c/p>\n\u003cp>It’s been reported and widely circulated that the lyrics to his anti-police song, “Punk Police,” were used against him in court, and that the song helped convict him. But there’s a nagging contradiction at the heart of that belief. Namely, in the song “Punk Police,” Mac Dre says multiple times that he’s not a criminal. The song includes the lyrics, “I’m a dope rhyme dealer, not a money stealer.” So how could this song be connected to the conspiracy charge?\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/_jhexDAzoEM'\n title='//www.youtube.com/embed/_jhexDAzoEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The song’s impact before the trial\u003c/h2>\n\u003cp>According to Wanda Salvatto, Mac Dre’s mother, to understand the role “Punk Police” played in Mac Dre’s trial, you need to go way back to the early ’80s when Mac Dre was a funny, optimistic kid who liked to rap.\u003c/p>\n\u003cp>“He kind of had the gift of gab. The gift of words and playing on words,” she said. “I’d say around 15, 16, 17, he always wrote rhymes and raps, and for Christmas that was stuff that he would ask for — a microphone, a keyboard.”\u003c/p>\n\u003cp>While in high school, Dre made some friends who liked to rap from another part of Vallejo called the Country Club Crest, or the Crest for short. Dre grew up in an upper middle-class neighborhood in Vallejo, but the Crest, on the northern edge of the city, was in decline. Across the nation, technological advancements and the outsourcing of jobs overseas decimated manufacturing industries such as steel, auto and meat-packing. Lower-paying service industry jobs replaced manufacturing ones, and this had a profound economic effect on Black neighborhoods like the Crest. For many people, employment and steady income became precarious, paving the way for crime and gang violence to take root.\u003c/p>\n\u003cp>Ray Luv, a rapper and close friend of Mac Dre’s at the time, remembers that period well, and living among the North Bay’s wealthy wine region.\u003c/p>\n\u003cp>“So you live in the ghetto in the middle of all of this wealth, but you don’t get to participate,” he said. “So drug dealing, prostitution, pimping, car thefts, jewelry store robberies, that became a thing. And most of the people that were doing it were in high school. They were kids, but they were kids that felt desperate. Felt hopeless. Felt like, ‘When I turn 18, what am I going to do?’”\u003c/p>\n\u003cp>Mac Dre’s friends started selling weed and crack cocaine to make money, and eventually Mac Dre got entangled in it.\u003c/p>\n\u003cp>“He would go there in the Crest and do it and come home,” Wanda remembered. “My whole thing was, ‘I’m going to work to provide, you know, there’s really no need for you to sell weed.’ Eventually, I understood he was doing it because of peer pressure.”\u003c/p>\n\u003cfigure id=\"attachment_11954264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954264\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-800x533.jpg\" alt=\"Paper photographs of young Black men lay on a table. In the top photo a man is pictured seated, wearing a dark grey sweat suit and a black Oakland Raiders cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/062723-Wanda-Salvatto-06-RT-KQED-e1687903909324.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family photos of Mac Dre belonging to his mother, Wanda Salvatto, laid out on a table in Vallejo on Monday, June 26, 2023. \u003ccite>(Raphaël Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dre got arrested and ended serving time in juvenile hall while he was still in high school. When he got out, he doubled down on his music. But now that he’d been in the system, he was being stopped and interrogated by the police more often.\u003c/p>\n\u003cp>“They were watching and harassing him, and it was just constant,” Wanda remembered.\u003c/p>\n\u003cp>Fed up with how the police were treating him, Mac Dre decided to use his music to air out his frustrations. In 1992, he released the song “Punk Police” detailing his relationship with the police at that time.\u003c/p>\n\u003cp>\u003cem>“Stop — I can’t take no mo’\u003c/em>\u003cbr>\n\u003cem>Why is the police steady knocking at my do’?\u003c/em>\u003cbr>\n\u003cem>24/7, the devils be trippin’\u003c/em>\u003cbr>\n\u003cem>They say some banks was robbed and I fit the description\u003c/em>\u003cbr>\n\u003cem>But that’s drama, so save it for your mama\u003c/em>\u003cbr>\n\u003cem>I’m not criminal minded, punk police, I’m a\u003c/em>\u003cbr>\n\u003cem>Dope rhyme dealer, not a money stealer”\u003c/em>\u003c/p>\n\u003cp>It might seem prescient that Mac Dre was rapping about being accused of robbing a bank before he actually faced charges. But what Mac Dre is referring to in the song is a spate of unsolved bank robberies that had been taking place in and around Vallejo. The police were suspicious of an alleged gang they called the Romper Room, which was the name Mac Dre and his friends gave themselves.\u003c/p>\n\u003cp>“The Romper Room crew is a circle of friends,” said Ray Luv. He says they got the name from a children’s show that ran on public television. “It was really about friendship and loyalty. The Romper Room were the first real supporters of Mac Dre.”\u003c/p>\n\u003cp>But in the eyes of the police, the Romper Room was not a crew of friends but a gang of criminals, and they routinely stopped them and conducted raids where they lived. So, at 21 years old, Mac Dre released “Punk Police” in response to what he saw as unwarranted harassment.\u003c/p>\n\u003cp>Professor and hip-hop historian Davey D remembers when the song came out.\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>“Everybody loved it. It was our version of ‘F*** the Police.’ Knowing what the police were doing in Vallejo and going up to the Crest, I think most people could relate to it,” he said.\u003c/p>\n\u003cp>Wanda, however, remembers the backlash.\u003c/p>\n\u003cp>“My youngest son, who was 11 years [younger than Dre], he’d be outside playing or we’d be in the garage doing whatever and police would just be cruising through, just to let us know, they’re watching,” she said. “Before the song came out, police didn’t come in this neighborhood. There was really no reason to. But because of that, that’s when the real harassment really started.”\u003c/p>\n\u003ch2>The trial of Mac Dre\u003c/h2>\n\u003cp>The same year that the song was released, Mac Dre was arrested for conspiracy to rob a bank in Fresno. The trial lasted one week, and according to court transcripts, “Punk Police” was played, but it was not central to the prosecution’s case.\u003c/p>\n\u003cp>I spoke to one of the prosecuting attorneys and he confirmed that their case hinged on two main pieces of evidence: an audio recording from the informant, in which Mac Dre can be heard saying “shoot out the surveillance cameras,” and a gun that was found during a raid on Mac Dre’s apartment several months prior. They were able to trace the bullets of the gun to one of the prior unsolved bank robberies in Vallejo.\u003c/p>\n\u003cp>Mac Dre’s lawyer countered that most of the audio recording was hard to hear and that the clip of Mac Dre was taken out of context — it could have been a rap or a joke. (In his 2022 autobiography, J. Diggs, one of Mac Dre’s co-defendants, says that Dre was making a joke.) As for the gun, Mac Dre’s lawyer pointed out that the weapon was not registered in his name nor did it have Mac Dre’s fingerprints on it, emphasizing that it could belong to anybody as multiple people were sleeping at Mac Dre’s apartment at the time of the raid. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"emailsignup","attributes":{"named":{"newslettername":"baycurious","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Punk Police” made a brief appearance in the trial. According to court transcripts, the prosecution played the song to establish that the police were not retaliating against Mac Dre because of it. One of the prosecutors called a detective to the stand and asked, “Was there and is there a campaign against Mr. Andre Hicks to prosecute him because of this song?” The detective responded, “No,” after which the prosecutor concluded his questioning.\u003c/p>\n\u003cp>After less than a day of deliberation, the jury came back with a guilty verdict.\u003c/p>\n\u003cp>“We were devastated,” Wanda said. “Andre didn’t rob any banks. We thought, you know, it would all work out. But it didn’t.”\u003c/p>\n\u003cp>Ray Luv wasn’t convinced by the evidence used against Dre.\u003c/p>\n\u003cp>“I think in most cases that probably would not stick. If he was a white kid from Mill Valley, Marin County, he would not have gone to prison on that evidence,” he said.\u003c/p>\n\u003cp>Despite the detective’s testimony at the trial, to those connected to the case and who saw it play out in real time, the connection between “Punk Police” and Mac Dre’s conviction is obvious.\u003c/p>\n\u003cp>“To this day, I will say that it was a clapback to the ‘Punk Police’ song,” said Davey D. “It’s kind of like, ‘Okay. We’ll find something on you. You’re going to slip up and we’re going to be there to catch you.’”\u003c/p>\n\u003cfigure id=\"attachment_11954280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/Mac-Dre-1996.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954280\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/06/Mac-Dre-1996-800x540.jpg\" alt=\"Interior of a recording studio, with 3 men standing side by side in the midfield. One man sits in the foreground with his back to the camera.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/06/Mac-Dre-1996.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mac Dre (standing center) in the studio with some friends after being released from prison in 1996. \u003ccite>(Courtesy of Wanda Salvatto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dre’s legacy and rap lyrics on trial\u003c/h2>\n\u003cp>Mac Dre was released from prison in 1996 after serving four years of his five-year sentence. He hit the ground running and was more prolific in making music than ever, releasing 10 albums in less than 10 years. He introduced a style of party music, known as hyphy, that would become synonymous with the Bay Area and gain popularity across the country.\u003c/p>\n\u003cp>Then in 2004, while performing in Kansas City, he was \u003ca href=\"https://www.passionweiss.com/2021/05/11/who-killed-mac-dre/#:~:text=According%20to%20his%20story%2C%20Whitmill,and%20driving%20the%20black%20Infiniti.\">killed in a drive-by shooting\u003c/a>. The details around his death have remained murky, with various unofficial reports from media outlets pointing to different suspects. The official police investigation, however, came up empty, and no one was ever charged for his murder.\u003c/p>\n\u003cp>While his lyrics may not have convicted him, Mac Dre’s case was one of the first to introduce rap lyrics during criminal proceedings. His case contributed to the antagonistic relationship that exists between hip-hop and the criminal justice system — one where art, most often the art of Black men, can be taken as an admission of guilt. (Just a few years after Mac Dre’s trial, Sacramento rappers \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#c-bo-jailed-for-his-lyrics\">C-Bo\u003c/a> and \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#x-raided-sent-to-prison-after-his-lyrics-are-used-as-evidence-in-trial\">X-Raided\u003c/a> were both put behind bars after their lyrics were introduced as evidence in court.)\u003c/p>\n\u003cp>Charis Kubrin, a criminologist and UC Irvine professor, says the reason that the use of rap lyrics in trials is so concerning is because they could be used to exploit existing racial biases.\u003c/p>\n\u003cp>“What’s happening in the minds of jurors, we think, are that folks are saying, ‘gosh, if someone could write these kinds of lyrics, they could do these kinds of crimes,’” she said. “Now, nobody thinks that with other music genres, or nobody’s thinking Quentin Tarantino is doing that with his violent films. But when it comes to rap music, it’s much easier to make that leap. And that’s because of stereotypes and biases that we have about young men of color who are primarily making the music.”\u003c/p>\n\u003cp>There are signs of change, however. In 2022, California lawmakers passed \u003ca href=\"https://www.youtube.com/watch?v=1MuXzJx8T-A&ab_channel=CaliforniaGovernorGavinNewsom\">AB 2799\u003c/a>, becoming the first state to prohibit the use of rap lyrics in criminal trials. Kubrin says it’s a good first step, but more can be done.\u003c/p>\n\u003cp>As for Mac Dre, even in his absence his legacy continues to grow. Every year, on July 5, people come together to celebrate his birthday, “Mac Dre Day,” in San Francisco.\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/NVR_kYZiPps'\n title='//www.youtube.com/embed/NVR_kYZiPps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His old friend Ray Luv is currently the Chief Operating Officer of Thizz Entertainment, the label that Mac Dre founded to distribute his music, and he helps organize the yearly Mac Dre Day celebrations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the beginning, when his career was taking off, he was sent to jail,” Ray Luv said. “Then he came home from jail and when his career starts taking off, he ended up getting killed. That’s a part of why I think we all toast him so much. The guy never really did too much wrong for what he received from this world. He was a good guy.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11954252/did-mac-dre-really-go-to-prison-because-of-his-lyrics","authors":["byline_news_11954252"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_29992","news_223","news_8","news_33520"],"tags":["news_32873","news_18477","news_32862","news_32871","news_32870","news_32314","news_32872"],"featImg":"news_11954265","label":"news_33523"},"news_11943512":{"type":"posts","id":"news_11943512","meta":{"index":"posts_1591205157","site":"news","id":"11943512","score":null,"sort":[1678975300000]},"guestAuthors":[],"slug":"oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'","publishDate":1678975300,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Guap, rapper and musician\"]'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'[/pullquote]\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label=\"More from The California Report’s ‘Mixed’ series\" tag=\"mixed\"]\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XB7siF0VKjY\u003c/p>\n\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1DaovaJgytE\u003c/p>\n\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","status":"publish","parent":0,"modified":1679431442,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":18,"wordCount":1218},"headData":{"title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo' | KQED","description":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC1054402465.mp3?updated=1678903586","nprByline":"\u003ca href=\"https://www.kqed.org/author/jessicakariisa\">Jessica Kariisa\u003c/a> ","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guap, rapper and musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\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":{"label":"More from The California Reports ‘Mixed series ","tag":"mixed"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\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/XB7siF0VKjY'\n title='//www.youtube.com/embed/XB7siF0VKjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\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/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"7528","src":"https://modules.wearehearken.com/kqed/embed/7528.js","label":""},"numeric":[]}},{"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":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","authors":["byline_news_11943512"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_21334","news_30494","news_22973","news_27626","news_18477","news_32533","news_28093","news_1425","news_4142","news_18","news_30475","news_2318"],"featImg":"news_11943517","label":"news_26731"},"news_11881696":{"type":"posts","id":"news_11881696","meta":{"index":"posts_1591205157","site":"news","id":"11881696","score":null,"sort":[1626948012000]},"guestAuthors":[],"slug":"how-hyphy-came-to-define-bay-area-hip-hop","title":"‘It’s Pure Energy’: How Hyphy Came to Define Bay Area Hip-Hop","publishDate":1626948012,"format":"standard","headTitle":"‘It’s Pure Energy’: How Hyphy Came to Define Bay Area Hip-Hop | KQED","labelTerm":{},"content":"\u003cp>When it comes to cultural exports of the Bay Area, hyphy is in a league of its own.\u003c/p>\n\u003cp>The subgenre of hip-hop has an up-tempo, hyperactive beat that makes you want to dance. In the early 2000s, artists like E-40 and Too Short had audiences around the world loving this distinctly Bay Area sound. But to locals who lived through the hyphy movement, it was much bigger than music.\u003c/p>\n\u003cp>“It’s an energy. It’s a culture. It’s a dance. It’s expression,” E-40 \u003ca href=\"https://www.youtube.com/watch?v=djs_t8MSvfw\">said in an interview posted by Artisan News Service\u003c/a>. “It’s cars. It’s the sideshows. It’s the swinging of donuts. It’s scraper cars — the Buick LeSabres, the Park Avenues, the old-school muscle cars … It’s the struggle. It’s the way we dress. It’s our lingo. It’s a culture, man.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn\">Pendarvis Harshaw\u003c/a>, who is now host of \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">KQED’s Rightnowish podcast\u003c/a>, recalled growing up in the midst of the hyphy movement.\u003c/p>\n\u003cp>“The scrapers getting sideways, airbrushed T-shirts, big stunna shades, all of that — that was my teenage experience,” he said. “I remember being in Emeryville at the record release party for E-40’s “My Ghetto Report Card” … which was arguably the height of the hyphy movement.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s watched the culture and music evolve over the past 20 years. Now, young people who were just babies at the height of the hyphy movement are rediscovering it.\u003c/p>\n\u003cp>“To this new generation of young adults, what’s old is new again,” Harshaw said.\u003c/p>\n\u003cp>That’s also true for Bay Curious listener Lauren Tankeh. She grew up in San Carlos and remembers starting to listen to hyphy in high school. Now, she’s in college at Cal Poly and says when a hyphy song gets played at a party, all the Bay Area kids go crazy. She wants to know more about how the culture became so synonymous with the Bay.\u003c/p>\n\u003cp>\u003cem>Below is a conversation Pendarvis had with music producer Trackademicks for the Rightnowish podcast. They’ll answer Lauren’s question, taking us through the hip-hop legacy of Northern California, and dig in on the etymology of the word “hyphy.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11882076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11882076\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-160x107.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1.jpeg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El stares into the camera as Pendarvis Harshaw does a video interview with E-40 at Youth Uprising in Deep East Oakland. \u003ccite>(Courtesy of Jacky Johnson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySel0OB-TDw\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K71IXLQpGss\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoQ4AtsFWVM\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMnTawcUZLQ\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b8kTV4VtKA\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2QjOclOzkU\u003c/p>\n\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37_C3WaTNk\u003c/p>\n\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\n","blocks":[],"excerpt":"Over 15 years ago, Bay Area rappers put hyphy music and culture on the map. How did hyphy get its start here? ","status":"publish","parent":0,"modified":1700588190,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1498},"headData":{"title":"‘It’s Pure Energy’: How Hyphy Came to Define Bay Area Hip-Hop | KQED","description":"In the early 2000s, artists like E-40 and Too $hort had audiences around the world loving this distinctly Bay Area sound. But where did that sound come from? And what was Hyphy culture like more broadly?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"In the early 2000s, artists like E-40 and Too $hort had audiences around the world loving this distinctly Bay Area sound. But where did that sound come from? And what was Hyphy culture like more broadly?"},"source":"Bay Curious","sourceUrl":"http://baycurious.org/","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC9455293592.mp3?updated=1626883508","nprByline":"Pendarvis Harshaw and Olivia Allen-Price","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to cultural exports of the Bay Area, hyphy is in a league of its own.\u003c/p>\n\u003cp>The subgenre of hip-hop has an up-tempo, hyperactive beat that makes you want to dance. In the early 2000s, artists like E-40 and Too Short had audiences around the world loving this distinctly Bay Area sound. But to locals who lived through the hyphy movement, it was much bigger than music.\u003c/p>\n\u003cp>“It’s an energy. It’s a culture. It’s a dance. It’s expression,” E-40 \u003ca href=\"https://www.youtube.com/watch?v=djs_t8MSvfw\">said in an interview posted by Artisan News Service\u003c/a>. “It’s cars. It’s the sideshows. It’s the swinging of donuts. It’s scraper cars — the Buick LeSabres, the Park Avenues, the old-school muscle cars … It’s the struggle. It’s the way we dress. It’s our lingo. It’s a culture, man.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn\">Pendarvis Harshaw\u003c/a>, who is now host of \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">KQED’s Rightnowish podcast\u003c/a>, recalled growing up in the midst of the hyphy movement.\u003c/p>\n\u003cp>“The scrapers getting sideways, airbrushed T-shirts, big stunna shades, all of that — that was my teenage experience,” he said. “I remember being in Emeryville at the record release party for E-40’s “My Ghetto Report Card” … which was arguably the height of the hyphy movement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s watched the culture and music evolve over the past 20 years. Now, young people who were just babies at the height of the hyphy movement are rediscovering it.\u003c/p>\n\u003cp>“To this new generation of young adults, what’s old is new again,” Harshaw said.\u003c/p>\n\u003cp>That’s also true for Bay Curious listener Lauren Tankeh. She grew up in San Carlos and remembers starting to listen to hyphy in high school. Now, she’s in college at Cal Poly and says when a hyphy song gets played at a party, all the Bay Area kids go crazy. She wants to know more about how the culture became so synonymous with the Bay.\u003c/p>\n\u003cp>\u003cem>Below is a conversation Pendarvis had with music producer Trackademicks for the Rightnowish podcast. They’ll answer Lauren’s question, taking us through the hip-hop legacy of Northern California, and dig in on the etymology of the word “hyphy.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11882076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11882076\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-160x107.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1.jpeg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El stares into the camera as Pendarvis Harshaw does a video interview with E-40 at Youth Uprising in Deep East Oakland. \u003ccite>(Courtesy of Jacky Johnson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\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/ySel0OB-TDw'\n title='//www.youtube.com/embed/ySel0OB-TDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\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/K71IXLQpGss'\n title='//www.youtube.com/embed/K71IXLQpGss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\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/AoQ4AtsFWVM'\n title='//www.youtube.com/embed/AoQ4AtsFWVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\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/qMnTawcUZLQ'\n title='//www.youtube.com/embed/qMnTawcUZLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\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/1b8kTV4VtKA'\n title='//www.youtube.com/embed/1b8kTV4VtKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\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/v2QjOclOzkU'\n title='//www.youtube.com/embed/v2QjOclOzkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\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/v37_C3WaTNk'\n title='//www.youtube.com/embed/v37_C3WaTNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\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>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop","authors":["byline_news_11881696"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_26456","news_24374","news_27626","news_18477","news_29693","news_1425","news_32314"],"featImg":"news_11882075","label":"source_news_11881696"},"arts_13874003":{"type":"posts","id":"arts_13874003","meta":{"index":"posts_1591205157","site":"arts","id":"13874003","score":null,"sort":[1580252206000]},"guestAuthors":[],"slug":"blackalicious-mc-gift-of-gab-to-receive-kidney-transplant-with-fans-help","title":"Blackalicious MC Gift of Gab to Receive Kidney Transplant—With Fans' Help","publishDate":1580252206,"format":"standard","headTitle":"Blackalicious MC Gift of Gab to Receive Kidney Transplant—With Fans’ Help | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gift of Gab promised his GoFundMe donors access to an exclusive solo EP, \u003cem>Offering\u003c/em>, and hinted at a new Blackalicious album on the way.\u003c/p>\n\u003cp>“THANK YOU SO MUCH FOR THE OUTPOURING OF LOVE!” he wrote once the fundraiser reached its goal. “We did it! Even though we hit our goal, any overage will go to extra expenses including transportation, medication costs, housing costs, caregiver costs, food, and a thousand other things. Every dollar makes it a little bit easier for me on the road back to recovery and health.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/blackalicious_/status/1222229153929236480?s=20\u003c/p>\n\n","blocks":[],"excerpt":"The Northern California hip-hop legend has been on dialysis for seven years despite a busy tour and recording schedule. ","status":"publish","parent":0,"modified":1705021399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":413},"headData":{"title":"Blackalicious MC Gift of Gab to Receive Kidney Transplant—With Fans' Help | KQED","description":"The Northern California hip-hop legend has been on dialysis for seven years despite a busy tour and recording schedule. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874003/blackalicious-mc-gift-of-gab-to-receive-kidney-transplant-with-fans-help","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\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>Gift of Gab promised his GoFundMe donors access to an exclusive solo EP, \u003cem>Offering\u003c/em>, and hinted at a new Blackalicious album on the way.\u003c/p>\n\u003cp>“THANK YOU SO MUCH FOR THE OUTPOURING OF LOVE!” he wrote once the fundraiser reached its goal. “We did it! Even though we hit our goal, any overage will go to extra expenses including transportation, medication costs, housing costs, caregiver costs, food, and a thousand other things. Every dollar makes it a little bit easier for me on the road back to recovery and health.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1222229153929236480"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874003/blackalicious-mc-gift-of-gab-to-receive-kidney-transplant-with-fans-help","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_831"],"featImg":"arts_11021465","label":"arts"},"news_11659279":{"type":"posts","id":"news_11659279","meta":{"index":"posts_1591205157","site":"news","id":"11659279","score":null,"sort":[1522626587000]},"guestAuthors":[],"slug":"oakland-museums-hip-hop-exhibit-highlights-bay-area-influences","title":"Oakland Museum's Hip-Hop Exhibit Highlights Bay Area Influences","publishDate":1522626587,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>As of last week, the Oakland Museum of California has a new interactive exhibit on display all about hip-hop.\u003c/p>\n\u003cp>The show, \"Respect: Hip-hop Style and Wisdom,\" highlights the evolution of hip-hop and features key pieces of hip-hop culture from across the country.\u003c/p>\n\u003cfigure id=\"attachment_11659282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659282\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut.jpg\" alt='A 1964 Chevy Impala Lowrider at the \"Respece: Hip-Hop Style & Wisdom\" exhibit at the Oakland Museum of California exhibit. Car culture is a big part of hip-hop history and culture.' width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A 1964 Chevy Impala Lowrider at the \"Respece: Hip-Hop Style & Wisdom\" exhibit at the Oakland Museum of California exhibit pays homage to West Coast car culture. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors can check out artifacts such as a 1964 Chevy Impala lowrider car or the turntables used by New York’s pioneer DJ Grandmaster Flex. There’s also an area where they can practice breakdancing and even try out DJ-ing themselves.\u003c/p>\n\u003cp>Then there's the section dedicated to the Bay Area and its role in hip-hop's evolution.\u003c/p>\n\u003cfigure id=\"attachment_11659283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659283\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut.jpg\" alt='This section of the show, \"Respect: Hip-hop and Wisdom,\" is dedicated to hip-hop culture and history in the Bay Area.' width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This section of the show, \"Respect: Hip-hop and Wisdom,\" is dedicated to hip-hop culture and history in the Bay Area. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It pays homages to artists such as graffiti writer Mike \"Dream\" Francisco and filmmaker Yak who put the \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">Bay Area street dance\u003c/a> on the global map.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The Bay is largely responsible for the independent movement of hip-hop,\" says Trey Amos, one of the curators of the exhibit.\u003c/p>\n\u003cfigure id=\"attachment_11659284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659284\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut.jpg\" alt=\"A map at the exhibit pinpoints parts of the Bay Area of important hip-hop landmarks and history.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map at the exhibit pinpoints parts of the Bay Area of important hip-hop landmarks and history. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I think that the Bay is often overlooked for its contribution in a lot of different areas. It’s everything, honestly, from the way folks dress to the lingo they use.\"\u003c/p>\n\u003cp>Amos points to an installation modeled after ones found on street corners around the Bay. It’s a colorful memorial with photos and illuminated candles with names on them like the deceased Bay Area rapper Mac Dre.\u003c/p>\n\u003cfigure id=\"attachment_11659286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659286\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut.jpg\" alt=\"A mock street memorial similar to those found on the streets of Oakland. The candles have names of fallen hip-hop artists like Phife Dawg and Mac Dre and local street artists like The Dream.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A mock street memorial similar to those found on the streets of Oakland. The candles have names of fallen hip-hop artists like Phife Dawg and Mac Dre and local street artists like The Dream. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The memorial really plays homage to folks that have passed away but have left their mark on the bay. So yeah, that might be my favorite part, showing our respects to ancestors of hip hop that have passed on.\"\u003c/p>\n\u003cp>\"Respect: Hip-hop style and Wisdom\" opened on March 24 and will run through August 12. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read a review of the show by \u003ca href=\"https://www.kqed.org/arts/13827876\" target=\"_blank\" rel=\"noopener\">KQED Arts here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11659292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659292\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/Image-uploaded-from-iOS-e1522626029421.jpg\" alt=\"People can write their own memorials and hang them on the wall next to the street memorial.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">People can write their own memorials and hang them on the wall next to the street memorial. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"\"The Bay is largely responsible for the independent movement of hip-hop,\" says one of the exhibit curators.","status":"publish","parent":0,"modified":1522626587,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":429},"headData":{"title":"Oakland Museum's Hip-Hop Exhibit Highlights Bay Area Influences | KQED","description":""The Bay is largely responsible for the independent movement of hip-hop," says one of the exhibit curators.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11659279 https://ww2.kqed.org/news/?p=11659279","disqusUrl":"https://ww2.kqed.org/news/2018/04/01/oakland-museums-hip-hop-exhibit-highlights-bay-area-influences/","disqusTitle":"Oakland Museum's Hip-Hop Exhibit Highlights Bay Area Influences","path":"/news/11659279/oakland-museums-hip-hop-exhibit-highlights-bay-area-influences","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of last week, the Oakland Museum of California has a new interactive exhibit on display all about hip-hop.\u003c/p>\n\u003cp>The show, \"Respect: Hip-hop Style and Wisdom,\" highlights the evolution of hip-hop and features key pieces of hip-hop culture from across the country.\u003c/p>\n\u003cfigure id=\"attachment_11659282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659282\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut.jpg\" alt='A 1964 Chevy Impala Lowrider at the \"Respece: Hip-Hop Style & Wisdom\" exhibit at the Oakland Museum of California exhibit. Car culture is a big part of hip-hop history and culture.' width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30194_Image-uploaded-from-iOS-7-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A 1964 Chevy Impala Lowrider at the \"Respece: Hip-Hop Style & Wisdom\" exhibit at the Oakland Museum of California exhibit pays homage to West Coast car culture. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors can check out artifacts such as a 1964 Chevy Impala lowrider car or the turntables used by New York’s pioneer DJ Grandmaster Flex. There’s also an area where they can practice breakdancing and even try out DJ-ing themselves.\u003c/p>\n\u003cp>Then there's the section dedicated to the Bay Area and its role in hip-hop's evolution.\u003c/p>\n\u003cfigure id=\"attachment_11659283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659283\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut.jpg\" alt='This section of the show, \"Respect: Hip-hop and Wisdom,\" is dedicated to hip-hop culture and history in the Bay Area.' width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30195_Image-uploaded-from-iOS-6-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This section of the show, \"Respect: Hip-hop and Wisdom,\" is dedicated to hip-hop culture and history in the Bay Area. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It pays homages to artists such as graffiti writer Mike \"Dream\" Francisco and filmmaker Yak who put the \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">Bay Area street dance\u003c/a> on the global map.\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 Bay is largely responsible for the independent movement of hip-hop,\" says Trey Amos, one of the curators of the exhibit.\u003c/p>\n\u003cfigure id=\"attachment_11659284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659284\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut.jpg\" alt=\"A map at the exhibit pinpoints parts of the Bay Area of important hip-hop landmarks and history.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30196_Image-uploaded-from-iOS-5-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map at the exhibit pinpoints parts of the Bay Area of important hip-hop landmarks and history. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I think that the Bay is often overlooked for its contribution in a lot of different areas. It’s everything, honestly, from the way folks dress to the lingo they use.\"\u003c/p>\n\u003cp>Amos points to an installation modeled after ones found on street corners around the Bay. It’s a colorful memorial with photos and illuminated candles with names on them like the deceased Bay Area rapper Mac Dre.\u003c/p>\n\u003cfigure id=\"attachment_11659286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659286\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut.jpg\" alt=\"A mock street memorial similar to those found on the streets of Oakland. The candles have names of fallen hip-hop artists like Phife Dawg and Mac Dre and local street artists like The Dream.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/RS30198_Image-uploaded-from-iOS-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A mock street memorial similar to those found on the streets of Oakland. The candles have names of fallen hip-hop artists like Phife Dawg and Mac Dre and local street artists like The Dream. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The memorial really plays homage to folks that have passed away but have left their mark on the bay. So yeah, that might be my favorite part, showing our respects to ancestors of hip hop that have passed on.\"\u003c/p>\n\u003cp>\"Respect: Hip-hop style and Wisdom\" opened on March 24 and will run through August 12. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read a review of the show by \u003ca href=\"https://www.kqed.org/arts/13827876\" target=\"_blank\" rel=\"noopener\">KQED Arts here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11659292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11659292\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/Image-uploaded-from-iOS-e1522626029421.jpg\" alt=\"People can write their own memorials and hang them on the wall next to the street memorial.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">People can write their own memorials and hang them on the wall next to the street memorial. \u003ccite>(Alyssa Perry/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11659279/oakland-museums-hip-hop-exhibit-highlights-bay-area-influences","authors":["11334"],"categories":["news_223","news_8"],"tags":["news_18477","news_2501"],"featImg":"news_11659285","label":"news"},"news_11641425":{"type":"posts","id":"news_11641425","meta":{"index":"posts_1591205157","site":"news","id":"11641425","score":null,"sort":[1515801961000]},"guestAuthors":[],"slug":"hop-in-your-lyft-rapper-has-arrived","title":"Hop in, Your Lyft Rapper Has Arrived","publishDate":1515801961,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests -- asking for songs about deli sandwiches, pizza or popcorn -- but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LDA1N2Y3gag\u003c/p>\n\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met -- and was sung to by -- the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. ... It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7PJIt4vp1BU\u003c/p>\n\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n","blocks":[],"excerpt":"Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.","status":"publish","parent":0,"modified":1516401232,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":759},"headData":{"title":"Hop in, Your Lyft Rapper Has Arrived | KQED","description":"Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11641425 https://ww2.kqed.org/news/?p=11641425","disqusUrl":"https://ww2.kqed.org/news/2018/01/12/hop-in-your-lyft-rapper-has-arrived/","disqusTitle":"Hop in, Your Lyft Rapper Has Arrived","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/LyftRapper2.mp3","nprByline":"Allen Young","path":"/news/11641425/hop-in-your-lyft-rapper-has-arrived","audioDuration":307000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests -- asking for songs about deli sandwiches, pizza or popcorn -- but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LDA1N2Y3gag'\n title='//www.youtube.com/embed/LDA1N2Y3gag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met -- and was sung to by -- the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. ... It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\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/7PJIt4vp1BU'\n title='//www.youtube.com/embed/7PJIt4vp1BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11641425/hop-in-your-lyft-rapper-has-arrived","authors":["byline_news_11641425"],"programs":["news_6944","news_72"],"categories":["news_223","news_8"],"tags":["news_19129","news_17740","news_18477","news_4524","news_1425","news_18","news_17286"],"featImg":"news_11641437","label":"news_72"},"news_11439095":{"type":"posts","id":"news_11439095","meta":{"index":"posts_1591205157","site":"news","id":"11439095","score":null,"sort":[1494054613000]},"guestAuthors":[],"slug":"preserving-the-legacy-of-fresnos-hmong-b-boys","title":"Preserving the Legacy of Fresno's Hmong B-Boys","publishDate":1494054613,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"vaSK9TaTtRXgMsTgxWwaugDD2JUUQQzU\"]\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95MGpzuOjvY\u003c/p>\n\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n","blocks":[],"excerpt":"Breakdancing gave these ‘90s kids -- many of them refugees from Laos -- a stake in their new homeland.","status":"publish","parent":0,"modified":1494262828,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1151},"headData":{"title":"Preserving the Legacy of Fresno's Hmong B-Boys | KQED","description":"Breakdancing gave these ‘90s kids -- many of them refugees from Laos -- a stake in their new homeland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11439095 https://ww2.kqed.org/news/?p=11439095","disqusUrl":"https://ww2.kqed.org/news/2017/05/06/preserving-the-legacy-of-fresnos-hmong-b-boys/","disqusTitle":"Preserving the Legacy of Fresno's Hmong B-Boys","audioUrl":"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/05/2017-05-05c-tcrmag.mp3","guestFields":"0","path":"/news/11439095/preserving-the-legacy-of-fresnos-hmong-b-boys","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\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>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\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/95MGpzuOjvY'\n title='//www.youtube.com/embed/95MGpzuOjvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11439095/preserving-the-legacy-of-fresnos-hmong-b-boys","authors":["208"],"programs":["news_72"],"categories":["news_223","news_1169"],"tags":["news_311","news_37","news_18477","news_20632","news_17286","news_17041"],"featImg":"news_11442418","label":"news_72"}},"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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.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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But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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