KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation. Who We Are
‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids
The new Amy Winehouse biopic ignores the singer's inner life, despite apparently using her diaries as source material.
8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime)
Yes, we're still mad about the A's — but there's never been a better time to catch the Oakland Roots or Bay FC.
An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza
Chefs and artists come together for a mutual aid 'micro-fundraiser' at Clay Clubhouse.
Bay Area Music Festivals and Outdoor Concerts for Summer 2024
With big-ticket festivals and free events alike, there’s no shortage of live music options this summer.
Oaklash Stays True to the Rebellious, Political Heart of Drag
The Oakland queer festival, taking place May 17-19, features an epic block party, drag theater and more.
Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show
Melissa Lewis Wong and mother Joy ChenYu Lewis explore familial bonds in a short film-turned-stage show.
Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party
The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.
Funding for KQED Arts & Culture is provided by:
The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED.
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Get daily Arts & Culture updates by following us on \u003ca href=\"https://www.instagram.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.kqed.org/arts/13883176/hey-bay-area-have-a-story-to-share-we-want-to-listen\" target=\"_blank\" rel=\"noopener noreferrer\">contact us\u003c/a>."},"innerBlocks":[],"innerHTML":"\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n","innerContent":["\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n"]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts/?tag=thedolist&queryId=9babc2e5a6","title":"The Do List","sectionUrl":"/thedolist","buttonText":"More from The Do List"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts/bayareabites,arts,food?category=food&queryId=72689f5784","title":"Food","sectionUrl":"/food","buttonText":"More from Food"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/ad","attrs":{"adType":"inHouse"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardsRecent","query":"posts/arts?tag=tmw-latest&queryId=f23383b337","title":"That’s My Word","sectionUrl":"/bayareahiphop","buttonText":"More Bay Area Hip Hop"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/section-overview","attrs":{"html":"KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation.\u003cbr />\u003ca href=\"/arts/staff\">Who We Are\u003c/a>"},"innerBlocks":[],"innerHTML":"\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n","innerContent":["\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n"]},{"blockName":"kqed/ad","attrs":[],"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardSeriesShowcase","query":"posts?tag=rebelgirls&queryId=e69dadfd0a","title":"Rebel Girls From Bay Area History","sectionUrl":"/rebelgirls","buttonText":"More about Rebel Girls From Bay Area History"},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardTextHeavyLarge","query":"posts/arts?&queryId=49eb8a1ae5","title":"More Arts","seeMore":true},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/funding-credits","attrs":{"text":"Funding for KQED Arts & Culture is provided by:\u003cbr>\u003cbr>The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED."},"innerBlocks":[],"innerHTML":"","innerContent":[]}],"status":"publish","parent":0,"modified":1711145205,"format":"standard","path":"/arts","redirect":{"type":"internal","url":"/arts"},"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"wp-block-kqed-header\">\u003c/div>\n\n\n\n\u003cdiv class=\"wp-block-kqed-columns\">\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\n\n\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\u003c/div>\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"label":"root-site","isLoading":false}},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13957394":{"type":"posts","id":"arts_13957394","meta":{"index":"posts_1591205157","site":"arts","id":"13957394","score":null,"sort":[1715791536000]},"guestAuthors":[],"slug":"bay-area-music-festivals-outdoor-concerts-summer-2024","title":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","publishDate":1715791536,"format":"standard","headTitle":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024 | KQED","labelTerm":{},"content":"\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n","blocks":[],"excerpt":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","status":"publish","parent":0,"modified":1715797947,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":2050},"headData":{"title":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts | KQED","description":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","ogTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","ogDescription":"","ogImgId":"","twTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","twDescription":"","twImgId":"","socialTitle":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","datePublished":"2024-05-15T16:45:36.000Z","dateModified":"2024-05-15T18:32:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957394","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\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>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\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>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_22140","arts_585"],"featImg":"arts_13938053","label":"source_arts_13957394"},"arts_13957803":{"type":"posts","id":"arts_13957803","meta":{"index":"posts_1591205157","site":"arts","id":"13957803","score":null,"sort":[1715807350000]},"guestAuthors":[],"slug":"amy-winehouse-movie-review-back-to-black-biopic-marisa-abela","title":"‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids","publishDate":1715807350,"format":"standard","headTitle":"‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>[aside postid='pop_17172']The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rYzIOBwyhIU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>[aside postid='pop_112753']Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Amy Winehouse biopic ignores the singer's inner life, despite apparently using her diaries as source material.","status":"publish","parent":0,"modified":1715818758,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":710},"headData":{"title":"‘Back to Black’ Movie Review: Great Impersonations, Zero Depth | KQED","description":"The new Amy Winehouse biopic ignores the singer's inner life, despite apparently using her diaries as source material.","ogTitle":"‘Back to Black’ Is a Thinly Drawn Picture of Amy Winehouse, Pulled From the Tabloids","ogDescription":"","ogImgId":"","twTitle":"‘Back to Black’ Is a Thinly Drawn Picture of Amy Winehouse, Pulled From the Tabloids","twDescription":"","twImgId":"","socialTitle":"‘Back to Black’ Movie Review: Great Impersonations, Zero Depth %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids","datePublished":"2024-05-15T21:09:10.000Z","dateModified":"2024-05-16T00:19:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957803","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957803/amy-winehouse-movie-review-back-to-black-biopic-marisa-abela","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_17172","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\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/rYzIOBwyhIU'\n title='//www.youtube.com/embed/rYzIOBwyhIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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 actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_112753","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957803/amy-winehouse-movie-review-back-to-black-biopic-marisa-abela","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_75"],"tags":["arts_21839","arts_21748","arts_585"],"featImg":"arts_13957805","label":"arts_140"},"arts_13956931":{"type":"posts","id":"arts_13956931","meta":{"index":"posts_1591205157","site":"arts","id":"13956931","score":null,"sort":[1715799619000]},"guestAuthors":[],"slug":"8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","title":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime)","publishDate":1715799619,"format":"standard","headTitle":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime) | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In what might be the most heartbreaking, multi-league exodus in modern sports history, the Bay Area — and in particular, Oakland — has recently suffered more than its fair share of hometown woes. Between \u003ca href=\"https://www.espn.com/mlb/story/_/id/39908731/oakland-sacramento-meetings-moves-john-fisher\">the bumbling soullessness of Oakland Athletics owner John Fisher\u003c/a>, the departure of the Raiders and the not-so-distant transplanting of the Golden State Warriors in recent seasons, \u003ca href=\"https://www.kqed.org/arts/13955419/oakland-as-athletics-booker-ruiz-wristbandgate\">fanbases have experienced no shortage of rage and disappointment\u003c/a>.\u003c/p>\n\u003cp>The Bay Area’s response? To gather an eclectic and boisterous assemblage of fans and community members, and organize with a grassroots ferocity rarely seen in the sports world. The past few months have seen the Bay creating new teams — separate from the level of the Giants, 49ers, Warriors and \u003ca href=\"https://www.kqed.org/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo\">the newly minted Valkyries\u003c/a> — garnering independent support and marching downfield with an unwavering appreciation for the underdog.\u003c/p>\n\u003cp>The upshot is that, this summer, there are more ways than ever to enjoy an affordable sports outing with your family — and, in doing so, proving that Bay Area sports fans are resilient and loyal. Here’s a brief rundown on how to support the Bay’s most exciting teams (without putting any money in Fisher’s feeble hands).\u003c/p>\n\u003cfigure id=\"attachment_13956942\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg\" alt=\"a baseball player shows off his Oakland Ballers jersey at a local tryout\" width=\"2560\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers recently held a tryout for local players to showcase their skills at Laney College. \u003ccite>(Oakland Ballers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oakland.ballers/?hl=en\">\u003cb>Oakland Ballers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In search of a locally rooted organization committed to preserving Oakland’s storied baseball identity? Look no further than\u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\"> the B’s — short for Ballers\u003c/a> — whose \u003ca href=\"https://www.kqed.org/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team\">snazzy, historically-forward logo\u003c/a> and uniforms harken back to \u003ca href=\"https://twitter.com/OaklandBallers/status/1781387456836981054\">the city’s prolific baseball legacy among shipyard workers and Black unions\u003c/a>. The brand new team will play at Raimondi Park in West Oakland and compete in the Pioneer League — an independent collection of minor league franchises with no Major League Baseball affiliations. Though their season doesn’t start until late May, the organization has already hit a home run by signing \u003ca href=\"https://www.instagram.com/kelsie_whitmore/?hl=en\">the league’s first-ever female pitcher, Kelsie Whitmore\u003c/a>. \u003cem>\u003ca href=\"https://uspst.clappit.com/tickets-oakland-ballers/showProductList.html\">Tickets here\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13956939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg\" alt=\"a group of women soccer players celebrate after a goal is scored\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay FC players celebrate after a goal. The NWSL is considered among the best leagues in the world. \u003ccite>(Bay FC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">\u003cb>Bay FC\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>We’re witnessing the largest surge for women’s sports in history — and we can be proud that the Bay Area is at its forefront. In addition to \u003ca href=\"https://www.kqed.org/news/11963547/wnba-team-in-the-bay-a-slam-dunk-for-bay-area-basketball\">the WNBA’s announcement of a Golden State expansion franchise\u003c/a> in 2025, the region scored extra points by introducing their \u003ca href=\"https://www.kqed.org/news/11980330/a-new-pro-womens-soccer-team-kicks-off-in-the-bay\">newest women’s soccer team\u003c/a>: \u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">Bay FC\u003c/a>, who made a splash by signing six-time African Women’s Footballer of the Year, Asisat Oshoala. Their \u003ca href=\"https://www.espn.com/soccer/story/_/id/39585552/nwsl-new-nike-kits-laying-foundation-commercial-growth\">Nike-designed kits and Old English crest\u003c/a> have elicited much excitement, and the schedule promises a variety of celebratory nights, including Pride and Latino Heritage. The team’s inaugural season is already underway as the newest members of the National Women’s Soccer League, which \u003cem>The Guardia\u003c/em>n recently dubbed “\u003ca href=\"https://amp.theguardian.com/football/2024/may/01/nwsl-commissioner-interview-us-soccer-expansion-value\">the world’s most innovative league\u003c/a>.” With home games costing as low as $13 at San Jose’s PayPal Park (a fun venue with the world’s largest outdoor bar), there’s no excuse for missing out on any summer kicks. \u003cem>\u003ca href=\"https://bayfc.com/schedule/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957862\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\" alt=\"A man in a gray and blue baseball uniform that reads 'Stockton' is in the middle of throwing the ball from somewhere in the infield\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stockton Ports shortstop Franklin Barreto throws to first base during the game between the Stockton Ports and the Bakersfield Blaze at Sam Lynn in Bakersfield, CA. \u003ccite>( David Dennis/Icon Sportswire/Corbis/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/stocktonports/\">\u003cb>Stockton Ports\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not for meant for the casual bandwagoner, this sports excursion will require a day trip to Stockton. But, as the A’s official Triple-A affiliate, who have shown nothing but support to fans amid MLB’s failure to keep the green-and-gold in town, our neighboring franchise deserves some love. For years, the Ports have been overlooked as an out-of-market afterthought: Why watch minor leaguers when you have major leaguers nearby? Well, that reality has shifted: Why continue supporting a vapid owner when you have a friendly alternative nearby? Earlier this season, when Oakland sports fans held their own Fan Fest,\u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\"> the Ports became official sponsors\u003c/a> and provided donations to help make it happen. If that’s not the definition of being 10 toes down, I’m not sure what is. \u003cem>\u003ca href=\"https://www.milb.com/stockton/schedule/2024-04\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957863\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\" alt=\"two soccer players sign a colorful flag for fans in the stands after winning a nighttime game\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neveal Hackshaw and Johnny Rodriguez of the Oakland Roots sign a flag for fans after the U.S. Open Cup third round game between the Oakland Roots and El Farolito on April 16, 2024 at Pioneer Stadium in Hayward, California. \u003ccite>(Doug Zimmerman/ISI Photos/USSF/Getty Images for USSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandroots/?hl=en\">\u003cb>Oakland Roots\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Perhaps the most socially conscious squad in all of professional U.S. sports, the Roots have \u003ca href=\"https://www.sfgate.com/sports/article/Are-the-Oakland-Roots-the-most-civic-minded-team-15661728.php\">put the community first since their 2018 formation in the Town\u003c/a>. Whether it’s collaborating with local artists and small businesses or cultivating a development team known as \u003ca href=\"https://www.instagram.com/project51o/\">Project 510\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11961286/oakland-roots-pro-soccer-team-raises-nearly-2-million-in-first-4-days-of-crowdfunding\">crowdfunded club\u003c/a> (which includes Jason Kidd, Marshawn Lynch, G Eazy and Billie Joe Armstrong as well as everyday Bay Area sports fans as part-owners) have been all in on hometown pride. You’re just as likely to see one of your favorite rappers performing at halftime, or casually attending a game on AAPI Heritage or Town Biz Night. Meanwhile CSU East Bay’s Pioneer Stadium is gorgeous, providing sweeping views of the Bay Area as an extra benefit to whatever’s going on between the sidelines. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-roots-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956937\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg\" alt=\"a woman soccer player jogs during warm ups before a game\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Soul have been heralded for their play on the field, and their style off the field. \u003ccite>(Oakland Soul SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandsoulsc/?hl=en\">\u003cb>Oakland Soul\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not to be outdone, the Soul are \u003ca href=\"https://www.kqed.org/news/11915080/oakland-roots-soccer-club-to-start-new-amateur-womens-team\">the amateur women’s branch of the Roots\u003c/a> — with a growing buzz and fanbase of their own. Their funky, retro-inspired uniforms are worth snagging from Oaklandish. Currently, the team plays in the United Soccer League Network, with home games hosted at Merritt College, and will play one double header with the Roots at CSUEB. Unlike Bay FC, the Soul play in the USL W, a second-division women’s league one tier beneath the NWSL — in other words, the two leading women’s soccer teams of the region aren’t directly in competition with one another, so you can guiltlessly cheer on both at once. In 2025, \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-coliseum-roots-soul-soccer-teams-2025-officials-approve-deal/\">the Soul (along with the Roots) will be housed at the Oakland Coliseum\u003c/a>. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-soul-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957864\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\" alt=\"Lionel Messi of Argentina holds a giant trophy while smiling surrounded by his team after winning the Copa America Brazil 2021.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lionel Messi of Argentina smiles with the trophy as he celebrates with teammates after winning the final of Copa America Brazil 2021 between Brazil and Argentina at Maracana Stadium on July 10, 2021 in Rio de Janeiro, Brazil. \u003ccite>(Buda Mendes/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/copaamerica/?hl=en\">\u003cb>Copa América\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>This isn’t a \u003cem>team\u003c/em>, per se — it’s a global phenomenon. Every four years, the biggest soccer tournament in the Western Hemisphere takes place in rotating host nations throughout the Americas. This year, the United States has been selected as the home of the famed cup — and Levi’s Stadium in Santa Clara has been deemed a national site for two games. With teams playing in cities across the country, Bay Area fans will be gifted with rare appearances from Brazil, Colombia, Ecuador and Venezuela for the oldest soccer tournament in the world (yes, older than the World Cup itself). \u003cem>\u003ca href=\"https://copaamerica.com/entradas/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956934\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg\" alt=\"an ultimate frisbee player runs for a score with frisbee in hand\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Spiders are an ultimate frisbee team that play at Fremont High School in East Oakland. \u003ccite>(Julien Dagan @juliendaganphoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/bayareafalcons/?hl=en&img_index=1\">\u003cb>Bay Area Falcons\u003c/b>\u003c/a>\u003cb> and \u003c/b>\u003ca href=\"https://www.instagram.com/oaklandspiders/?hl=en\">\u003cb>Oakland Spiders\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>If the venerable spring-and-summer sports of baseball and soccer aren’t your jam, or you’re looking for a new spin on sunny weather outings, check out the Falcons (women’s and non-binary) and Spiders (men’s) professional ultimate frisbee teams. Both squads compete at East Oakland’s Fremont High School for home games. The Spiders — two-time national champs, currently led by rookie frisbeer, \u003ca href=\"https://www.youtube.com/watch?v=Ghz9Qey4Of8\">Raekwon Adkins\u003c/a> — have also graciously provided \u003ca href=\"https://www.instagram.com/p/C5mcdH-PWoa/?hl=en\">an ultimate frisbee explainer video\u003c/a> for the uninitiated. Admittedly, I’ve never attended a pro frisbee game, but with my favorite summertime team — formerly known as the Oakland Athletics — about to vacate the area, I’ll certainly be looking elsewhere to provide my loyal fandom. \u003cem>\u003ca href=\"https://www.falconsultimate.com/tickets\">Tickets here\u003c/a> (Falcons) and\u003ca href=\"https://oaklandspiders.com/collections/tickets_memberships\"> here\u003c/a> (Spiders).\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Yes, we're still mad about the A's — but there's never been a better time to catch the Oakland Roots or Bay FC. ","status":"publish","parent":0,"modified":1715800617,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1393},"headData":{"title":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime) | KQED","description":"Yes, we're still mad about the A's — but there's never been a better time to catch the Oakland Roots or Bay FC. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime)","datePublished":"2024-05-15T19:00:19.000Z","dateModified":"2024-05-15T19:16:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956931","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956931/8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In what might be the most heartbreaking, multi-league exodus in modern sports history, the Bay Area — and in particular, Oakland — has recently suffered more than its fair share of hometown woes. Between \u003ca href=\"https://www.espn.com/mlb/story/_/id/39908731/oakland-sacramento-meetings-moves-john-fisher\">the bumbling soullessness of Oakland Athletics owner John Fisher\u003c/a>, the departure of the Raiders and the not-so-distant transplanting of the Golden State Warriors in recent seasons, \u003ca href=\"https://www.kqed.org/arts/13955419/oakland-as-athletics-booker-ruiz-wristbandgate\">fanbases have experienced no shortage of rage and disappointment\u003c/a>.\u003c/p>\n\u003cp>The Bay Area’s response? To gather an eclectic and boisterous assemblage of fans and community members, and organize with a grassroots ferocity rarely seen in the sports world. The past few months have seen the Bay creating new teams — separate from the level of the Giants, 49ers, Warriors and \u003ca href=\"https://www.kqed.org/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo\">the newly minted Valkyries\u003c/a> — garnering independent support and marching downfield with an unwavering appreciation for the underdog.\u003c/p>\n\u003cp>The upshot is that, this summer, there are more ways than ever to enjoy an affordable sports outing with your family — and, in doing so, proving that Bay Area sports fans are resilient and loyal. Here’s a brief rundown on how to support the Bay’s most exciting teams (without putting any money in Fisher’s feeble hands).\u003c/p>\n\u003cfigure id=\"attachment_13956942\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg\" alt=\"a baseball player shows off his Oakland Ballers jersey at a local tryout\" width=\"2560\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers recently held a tryout for local players to showcase their skills at Laney College. \u003ccite>(Oakland Ballers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oakland.ballers/?hl=en\">\u003cb>Oakland Ballers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In search of a locally rooted organization committed to preserving Oakland’s storied baseball identity? Look no further than\u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\"> the B’s — short for Ballers\u003c/a> — whose \u003ca href=\"https://www.kqed.org/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team\">snazzy, historically-forward logo\u003c/a> and uniforms harken back to \u003ca href=\"https://twitter.com/OaklandBallers/status/1781387456836981054\">the city’s prolific baseball legacy among shipyard workers and Black unions\u003c/a>. The brand new team will play at Raimondi Park in West Oakland and compete in the Pioneer League — an independent collection of minor league franchises with no Major League Baseball affiliations. Though their season doesn’t start until late May, the organization has already hit a home run by signing \u003ca href=\"https://www.instagram.com/kelsie_whitmore/?hl=en\">the league’s first-ever female pitcher, Kelsie Whitmore\u003c/a>. \u003cem>\u003ca href=\"https://uspst.clappit.com/tickets-oakland-ballers/showProductList.html\">Tickets here\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13956939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg\" alt=\"a group of women soccer players celebrate after a goal is scored\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay FC players celebrate after a goal. The NWSL is considered among the best leagues in the world. \u003ccite>(Bay FC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">\u003cb>Bay FC\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>We’re witnessing the largest surge for women’s sports in history — and we can be proud that the Bay Area is at its forefront. In addition to \u003ca href=\"https://www.kqed.org/news/11963547/wnba-team-in-the-bay-a-slam-dunk-for-bay-area-basketball\">the WNBA’s announcement of a Golden State expansion franchise\u003c/a> in 2025, the region scored extra points by introducing their \u003ca href=\"https://www.kqed.org/news/11980330/a-new-pro-womens-soccer-team-kicks-off-in-the-bay\">newest women’s soccer team\u003c/a>: \u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">Bay FC\u003c/a>, who made a splash by signing six-time African Women’s Footballer of the Year, Asisat Oshoala. Their \u003ca href=\"https://www.espn.com/soccer/story/_/id/39585552/nwsl-new-nike-kits-laying-foundation-commercial-growth\">Nike-designed kits and Old English crest\u003c/a> have elicited much excitement, and the schedule promises a variety of celebratory nights, including Pride and Latino Heritage. The team’s inaugural season is already underway as the newest members of the National Women’s Soccer League, which \u003cem>The Guardia\u003c/em>n recently dubbed “\u003ca href=\"https://amp.theguardian.com/football/2024/may/01/nwsl-commissioner-interview-us-soccer-expansion-value\">the world’s most innovative league\u003c/a>.” With home games costing as low as $13 at San Jose’s PayPal Park (a fun venue with the world’s largest outdoor bar), there’s no excuse for missing out on any summer kicks. \u003cem>\u003ca href=\"https://bayfc.com/schedule/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957862\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\" alt=\"A man in a gray and blue baseball uniform that reads 'Stockton' is in the middle of throwing the ball from somewhere in the infield\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stockton Ports shortstop Franklin Barreto throws to first base during the game between the Stockton Ports and the Bakersfield Blaze at Sam Lynn in Bakersfield, CA. \u003ccite>( David Dennis/Icon Sportswire/Corbis/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/stocktonports/\">\u003cb>Stockton Ports\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not for meant for the casual bandwagoner, this sports excursion will require a day trip to Stockton. But, as the A’s official Triple-A affiliate, who have shown nothing but support to fans amid MLB’s failure to keep the green-and-gold in town, our neighboring franchise deserves some love. For years, the Ports have been overlooked as an out-of-market afterthought: Why watch minor leaguers when you have major leaguers nearby? Well, that reality has shifted: Why continue supporting a vapid owner when you have a friendly alternative nearby? Earlier this season, when Oakland sports fans held their own Fan Fest,\u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\"> the Ports became official sponsors\u003c/a> and provided donations to help make it happen. If that’s not the definition of being 10 toes down, I’m not sure what is. \u003cem>\u003ca href=\"https://www.milb.com/stockton/schedule/2024-04\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957863\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\" alt=\"two soccer players sign a colorful flag for fans in the stands after winning a nighttime game\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neveal Hackshaw and Johnny Rodriguez of the Oakland Roots sign a flag for fans after the U.S. Open Cup third round game between the Oakland Roots and El Farolito on April 16, 2024 at Pioneer Stadium in Hayward, California. \u003ccite>(Doug Zimmerman/ISI Photos/USSF/Getty Images for USSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandroots/?hl=en\">\u003cb>Oakland Roots\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Perhaps the most socially conscious squad in all of professional U.S. sports, the Roots have \u003ca href=\"https://www.sfgate.com/sports/article/Are-the-Oakland-Roots-the-most-civic-minded-team-15661728.php\">put the community first since their 2018 formation in the Town\u003c/a>. Whether it’s collaborating with local artists and small businesses or cultivating a development team known as \u003ca href=\"https://www.instagram.com/project51o/\">Project 510\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11961286/oakland-roots-pro-soccer-team-raises-nearly-2-million-in-first-4-days-of-crowdfunding\">crowdfunded club\u003c/a> (which includes Jason Kidd, Marshawn Lynch, G Eazy and Billie Joe Armstrong as well as everyday Bay Area sports fans as part-owners) have been all in on hometown pride. You’re just as likely to see one of your favorite rappers performing at halftime, or casually attending a game on AAPI Heritage or Town Biz Night. Meanwhile CSU East Bay’s Pioneer Stadium is gorgeous, providing sweeping views of the Bay Area as an extra benefit to whatever’s going on between the sidelines. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-roots-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956937\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg\" alt=\"a woman soccer player jogs during warm ups before a game\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Soul have been heralded for their play on the field, and their style off the field. \u003ccite>(Oakland Soul SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandsoulsc/?hl=en\">\u003cb>Oakland Soul\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not to be outdone, the Soul are \u003ca href=\"https://www.kqed.org/news/11915080/oakland-roots-soccer-club-to-start-new-amateur-womens-team\">the amateur women’s branch of the Roots\u003c/a> — with a growing buzz and fanbase of their own. Their funky, retro-inspired uniforms are worth snagging from Oaklandish. Currently, the team plays in the United Soccer League Network, with home games hosted at Merritt College, and will play one double header with the Roots at CSUEB. Unlike Bay FC, the Soul play in the USL W, a second-division women’s league one tier beneath the NWSL — in other words, the two leading women’s soccer teams of the region aren’t directly in competition with one another, so you can guiltlessly cheer on both at once. In 2025, \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-coliseum-roots-soul-soccer-teams-2025-officials-approve-deal/\">the Soul (along with the Roots) will be housed at the Oakland Coliseum\u003c/a>. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-soul-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957864\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\" alt=\"Lionel Messi of Argentina holds a giant trophy while smiling surrounded by his team after winning the Copa America Brazil 2021.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lionel Messi of Argentina smiles with the trophy as he celebrates with teammates after winning the final of Copa America Brazil 2021 between Brazil and Argentina at Maracana Stadium on July 10, 2021 in Rio de Janeiro, Brazil. \u003ccite>(Buda Mendes/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/copaamerica/?hl=en\">\u003cb>Copa América\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>This isn’t a \u003cem>team\u003c/em>, per se — it’s a global phenomenon. Every four years, the biggest soccer tournament in the Western Hemisphere takes place in rotating host nations throughout the Americas. This year, the United States has been selected as the home of the famed cup — and Levi’s Stadium in Santa Clara has been deemed a national site for two games. With teams playing in cities across the country, Bay Area fans will be gifted with rare appearances from Brazil, Colombia, Ecuador and Venezuela for the oldest soccer tournament in the world (yes, older than the World Cup itself). \u003cem>\u003ca href=\"https://copaamerica.com/entradas/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956934\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg\" alt=\"an ultimate frisbee player runs for a score with frisbee in hand\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Spiders are an ultimate frisbee team that play at Fremont High School in East Oakland. \u003ccite>(Julien Dagan @juliendaganphoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/bayareafalcons/?hl=en&img_index=1\">\u003cb>Bay Area Falcons\u003c/b>\u003c/a>\u003cb> and \u003c/b>\u003ca href=\"https://www.instagram.com/oaklandspiders/?hl=en\">\u003cb>Oakland Spiders\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>If the venerable spring-and-summer sports of baseball and soccer aren’t your jam, or you’re looking for a new spin on sunny weather outings, check out the Falcons (women’s and non-binary) and Spiders (men’s) professional ultimate frisbee teams. Both squads compete at East Oakland’s Fremont High School for home games. The Spiders — two-time national champs, currently led by rookie frisbeer, \u003ca href=\"https://www.youtube.com/watch?v=Ghz9Qey4Of8\">Raekwon Adkins\u003c/a> — have also graciously provided \u003ca href=\"https://www.instagram.com/p/C5mcdH-PWoa/?hl=en\">an ultimate frisbee explainer video\u003c/a> for the uninitiated. Admittedly, I’ve never attended a pro frisbee game, but with my favorite summertime team — formerly known as the Oakland Athletics — about to vacate the area, I’ll certainly be looking elsewhere to provide my loyal fandom. \u003cem>\u003ca href=\"https://www.falconsultimate.com/tickets\">Tickets here\u003c/a> (Falcons) and\u003ca href=\"https://oaklandspiders.com/collections/tickets_memberships\"> here\u003c/a> (Spiders).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956931/8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_13238"],"tags":["arts_10092","arts_1331","arts_9346","arts_16908","arts_1551","arts_21764","arts_5489","arts_1084","arts_21960","arts_4506","arts_22150","arts_22140","arts_2533"],"featImg":"arts_13956941","label":"arts_140"},"arts_13957889":{"type":"posts","id":"arts_13957889","meta":{"index":"posts_1591205157","site":"arts","id":"13957889","score":null,"sort":[1715797354000]},"guestAuthors":[],"slug":"oakland-potluck-art-show-gaza-fundraiser","title":"An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza","publishDate":1715797354,"format":"standard","headTitle":"An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza | KQED","labelTerm":{},"content":"\u003cp>Artists and food industry figures, including chef Reem Assil, artist Jeffrey Cheung and local eatery Tacos Oscar, will come together this Saturday at Clay Clubhouse in Oakland’s Dimond District to raise money for Palestinian humanitarian efforts.\u003c/p>\n\u003cp>“We want to make sure Palestine is recognized for all the beauty and art it brings to the world, even as people are trying to erase it,” said co-organizer Sam Sundos.\u003c/p>\n\u003cp>[aside postID='arts_13928345']As the number of people killed in Gaza in the ongoing Israeli military offensive reaches over 35,0000, fundraiser organizers \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">Michelle Nazzal\u003c/a>, an Oakland chef, and \u003ca href=\"https://www.instagram.com/sabri/?hl=en\">Sundos\u003c/a>, a Brooklyn artist, say they wanted to bring together other chefs and artists who’ve been vocal about it. To honor those folks, they’ve named the event “Aswat,” which means “voices” in Arabic.\u003c/p>\n\u003cp>“Seeing people really educating themselves about what’s happening in Palestine and speaking up — it really means a lot,” Nazzal said. “And we really wanted to keep the focus on Palestinians, who are trying to figure out how to leave or stay there and build a life.”\u003c/p>\n\u003cp>The fundraiser takes the form of a group show and a community potluck. All proceeds from art sales will go to \u003ca href=\"https://docs.google.com/document/u/0/d/19BVbPh9eNmzfqJGM2qeG2UhNLyPIHtLURZnZSA7vkR0/mobilebasic\">Gaza Mutual Aid Solidarity\u003c/a>, a volunteer mutual aid group which helps families in Gaza to meet basic needs, says Sundos. Nazzal and Sundos have framed the event as a “micro-fundraiser,” and hope to inspire others in the community to follow suit.\u003c/p>\n\u003cfigure id=\"attachment_13957901\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg\" alt=\"\" width=\"481\" height=\"622\" class=\"size-full wp-image-13957901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720-160x207.jpg 160w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">San Sundos, one of the organizers of ‘Aswat.’ \u003ccite>(Farah Alimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mutual aid fund we’re contributing to is working directly with people in Gaza,” Nazzal said. “A micro-fundraiser means it’s more grassroots — it means the community coming together to raise whatever money they can.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an effort to make supporting Palestine more accessible, the duo asked the artists to price their work between $100 and $300.\u003c/p>\n\u003cp>“I think it lowers the barrier of entry,” Sundos said. “We’re opening the doors for anyone who wants to come in.”\u003c/p>\n\u003cp>[aside postID='arts_13956017']Sundos, who’s traveling from New York to the Bay for the event, will lead a workshop on traditional Palestinian embroidery called tatreez for Saturday’s event, and is selling one of his embroidery pieces in the show. Nazzal, who runs the Palestinian food pop-up in Oakland Mishmish, will give a talk about food sovereignty and will make stuffed grape leaves, hummus and labna made from cashews for the potluck.\u003c/p>\n\u003cp>Nazzal and Sundos both have deep family history in the Palestinian region. Pro-Israeli forces expelled Sundos’ family from Palestine in 1948, alongside \u003ca href=\"https://www.pbs.org/newshour/world/palestinians-mark-the-nakba-the-original-catastrophe-of-mass-expulsion\">700,000 other Palestinians\u003c/a>, he says. Rallying their community around their shared culture and shedding light on the ongoing atrocities are the central themes of “Aswat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The connections I’ve made through fundraising actions for families in Gaza have been super heartwarming, especially with artists and chefs who already have a hard time scraping by,” Sundos said.\u003c/p>\n\n","blocks":[],"excerpt":"Chefs and artists come together for a mutual aid 'micro-fundraiser' at Clay Clubhouse.","status":"publish","parent":0,"modified":1715798516,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":529},"headData":{"title":"An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza | KQED","description":"Chefs and artists come together for a mutual aid 'micro-fundraiser' at Clay Clubhouse.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza","datePublished":"2024-05-15T18:22:34.000Z","dateModified":"2024-05-15T18:41:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13957889","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957889/oakland-potluck-art-show-gaza-fundraiser","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists and food industry figures, including chef Reem Assil, artist Jeffrey Cheung and local eatery Tacos Oscar, will come together this Saturday at Clay Clubhouse in Oakland’s Dimond District to raise money for Palestinian humanitarian efforts.\u003c/p>\n\u003cp>“We want to make sure Palestine is recognized for all the beauty and art it brings to the world, even as people are trying to erase it,” said co-organizer Sam Sundos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928345","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As the number of people killed in Gaza in the ongoing Israeli military offensive reaches over 35,0000, fundraiser organizers \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">Michelle Nazzal\u003c/a>, an Oakland chef, and \u003ca href=\"https://www.instagram.com/sabri/?hl=en\">Sundos\u003c/a>, a Brooklyn artist, say they wanted to bring together other chefs and artists who’ve been vocal about it. To honor those folks, they’ve named the event “Aswat,” which means “voices” in Arabic.\u003c/p>\n\u003cp>“Seeing people really educating themselves about what’s happening in Palestine and speaking up — it really means a lot,” Nazzal said. “And we really wanted to keep the focus on Palestinians, who are trying to figure out how to leave or stay there and build a life.”\u003c/p>\n\u003cp>The fundraiser takes the form of a group show and a community potluck. All proceeds from art sales will go to \u003ca href=\"https://docs.google.com/document/u/0/d/19BVbPh9eNmzfqJGM2qeG2UhNLyPIHtLURZnZSA7vkR0/mobilebasic\">Gaza Mutual Aid Solidarity\u003c/a>, a volunteer mutual aid group which helps families in Gaza to meet basic needs, says Sundos. Nazzal and Sundos have framed the event as a “micro-fundraiser,” and hope to inspire others in the community to follow suit.\u003c/p>\n\u003cfigure id=\"attachment_13957901\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg\" alt=\"\" width=\"481\" height=\"622\" class=\"size-full wp-image-13957901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720-160x207.jpg 160w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">San Sundos, one of the organizers of ‘Aswat.’ \u003ccite>(Farah Alimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mutual aid fund we’re contributing to is working directly with people in Gaza,” Nazzal said. “A micro-fundraiser means it’s more grassroots — it means the community coming together to raise whatever money they can.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an effort to make supporting Palestine more accessible, the duo asked the artists to price their work between $100 and $300.\u003c/p>\n\u003cp>“I think it lowers the barrier of entry,” Sundos said. “We’re opening the doors for anyone who wants to come in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956017","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sundos, who’s traveling from New York to the Bay for the event, will lead a workshop on traditional Palestinian embroidery called tatreez for Saturday’s event, and is selling one of his embroidery pieces in the show. Nazzal, who runs the Palestinian food pop-up in Oakland Mishmish, will give a talk about food sovereignty and will make stuffed grape leaves, hummus and labna made from cashews for the potluck.\u003c/p>\n\u003cp>Nazzal and Sundos both have deep family history in the Palestinian region. Pro-Israeli forces expelled Sundos’ family from Palestine in 1948, alongside \u003ca href=\"https://www.pbs.org/newshour/world/palestinians-mark-the-nakba-the-original-catastrophe-of-mass-expulsion\">700,000 other Palestinians\u003c/a>, he says. Rallying their community around their shared culture and shedding light on the ongoing atrocities are the central themes of “Aswat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The connections I’ve made through fundraising actions for families in Gaza have been super heartwarming, especially with artists and chefs who already have a hard time scraping by,” Sundos said.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957889/oakland-potluck-art-show-gaza-fundraiser","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_12276","arts_70"],"tags":["arts_1297","arts_22153","arts_8838","arts_22155","arts_22154","arts_585"],"featImg":"arts_13957891","label":"source_arts_13957889"},"arts_13957872":{"type":"posts","id":"arts_13957872","meta":{"index":"posts_1591205157","site":"arts","id":"13957872","score":null,"sort":[1715790366000]},"guestAuthors":[],"slug":"oaklash-drag-festival-oakland-lgtbq-events-2024","title":"Oaklash Stays True to the Rebellious, Political Heart of Drag","publishDate":1715790366,"format":"standard","headTitle":"Oaklash Stays True to the Rebellious, Political Heart of Drag | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Seven years in, there’s something about \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> that still feels fresh. Not only does the Oakland drag festival offer plenty of sparkly, gender-bending spectacle, it’s also a champion of disability and racial justice — and the organizers put their money where their mouth is. Thanks to their \u003ca href=\"https://www.oaklash.com/grants\">Disability Fund\u003c/a> and \u003ca href=\"https://www.oaklash.com/o-snap\">Skills for Nightlife Accelerator Program\u003c/a> (O-SNAP), Oaklash has nurtured dozens of artists who are now making politically urgent, community-minded work, and lifting up others while doing it.\u003c/p>\n\u003cp>This year’s Oaklash takes place May 17-19 in multiple Oakland locations. How to navigate the packed weekend of lip syncs, dance parties and immersive theater? And preferably do it without losing a wig or breaking a nail?\u003c/p>\n\u003cp>“Show up a blank slate. Show up ready to have your mind blown. Show up ready to meet the love of your life,” says co-organizer Mama Celeste, who founded Oaklash with Beatrix LaHaine in 2018. \u003c/p>\n\u003cp>[aside postid='arts_13953497']The festival kicks off Friday night at Nectar Social Club with an eco-sexual-themed party produced by the latest O-SNAP cohort (Piss E Sissy, Holden Wood, Jasmine Robinson, Andrea Wang and Vanessa Hernandez). The dress code encourages green, leafy and slutty (think “plant-based perversion,” as Piss E Sissy put it). The party kicks off with a mixer for new and experienced performers alike, followed by a drag show by BB Gunz, Mommy Dommest, Evangeline Laveau and Translucent; live music from Cuban hip-hop artist Krudas Cubensi and a set by Renaissance the DJ.\u003c/p>\n\u003cfigure id=\"attachment_13929146\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"two colorfully dressed drag performers pose for the camera while people fill the street behind them at a drag festival\" width=\"2560\" height=\"1527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-800x477.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1020x608.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-768x458.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1536x916.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-2048x1221.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1920x1145.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mama Celeste and Beatrix Lahaine, founders of Oaklash, pose at 2022’s festival. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fun continues on Saturday, May 18, with an epic block party on 9th Street and Broadway in Old Oakland, headlined by \u003ci>RuPaul’s Drag Race\u003c/i> Season 15 winner Sasha Colby and award-winning drag king and television personality Landon Cider. With over 70 performers and two stages, this is an opportunity to see a huge variety of creative expression from local drag luminaries such as Nicki Jizz, founder of San Francisco’s only all-Black drag show, Reparations; drag king and activist Harddeep Singh; Oaklash co-founder LaHaine and more. Performances will continue at the \u003ca href=\"https://www.instagram.com/p/CeCK1z7vRrf/\">Afterkii\u003c/a> at nearby club ForTheCulture.\u003c/p>\n\u003cfigure id=\"attachment_13914980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg\" alt=\"Drag queen on all fours with crowd surrounding\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz performs at Princess at Oasis. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Celeste says Oaklash especially embraces artists whose work responds to the current political moment. While many arts organizations have remained silent on Israel’s bombardment of Gaza — some have even penalized artists for speaking out against it — Mama Celeste says won’t be the case at Oaklash. (She notes that Oaklash is a fiscal sponsor of \u003ca href=\"https://www.instagram.com/thebadfund?igsh=MzRlODBiNWFlZA%3D%3D\">the BAD Fund\u003c/a>, which provides funding for drag artists if they need to drop out of gigs from funders or promoters they find politically objectionable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you provide the space for artists to do whatever they want, they’re going to get up there and they’re going to talk about what’s most important to them,” she says. “What’s important to a lot of people in the Bay, a lot of people in the world, a lot of queer people right now, is solidarity with the people in Palestine and the Congo and Sudan.”\u003c/p>\n\u003cfigure id=\"attachment_13934554\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F.jpg\" alt=\"\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Drag kings Helixir, Papi Churro, King LOTUS BOY and Harddeep Singh. Helixir and Harddeep will both perform at Oaklash’s 2024 block party on May 18. \u003ccite>(Vita Hewitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its core, Oaklash celebrates drag’s countercultural and rebellious roots, and one of the festival’s guiding lights is the beloved, late drag mother \u003ca href=\"https://sfist.com/2021/05/19/phatima-rude-queer-punk-drag-icon-of-sf-scene-dies-at-55/\">Phatima Rude\u003c/a>, who will be honored May 19 in the festival finale, \u003ci>Rebirth: The Death of Drag\u003c/i>.\u003c/p>\n\u003cp>“It’s going to be very raw,” Mama Celeste says. “It’s going to be very intense. It’s going to be very emotional.”\u003c/p>\n\u003cp>Held at anarchist community space Omni Commons, the immersive theater piece and drag installation is led by Hollow Eve and the House of Rude — including Phatima’s drag daughter Kochina, a champion of drug safety and \u003ca href=\"https://www.kqed.org/news/11947448/there-to-save-a-life-san-francisco-bars-fight-fentanyl-overdoses-with-narcan\">harm reduction in the queer nightlife community\u003c/a>. Mama Celeste doesn’t quite know what to expect yet, but is sure the piece is going to capture Phatima Rude’s punk-rock spirit and penchant for the otherworldly, strange and surreal.\u003c/p>\n\u003cp>“I told Hollow to not tell me what they’re doing because I don’t want to know. I want to go and I want to be surprised and shocked as everybody else,” Mama Celeste says. “But it’s very, very different than what people have come to expect from the Pride Festival or anything like that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaklash takes place at various Oakland venues May 17-19. \u003ca href=\"https://www.eventbrite.com/e/oaklash-2024-registration-814569989767?aff=oddtdtcreator\">Individual event tickets\u003c/a> are $20 each; $50 weekend passes are sold out. \u003ca href=\"https://www.oaklash.com/lineup\">Full schedule here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland queer festival, taking place May 17-19, features an epic block party, drag theater and more. ","status":"publish","parent":0,"modified":1715790366,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":832},"headData":{"title":"Oaklash Stays True to the Rebellious, Political Heart of Drag | KQED","description":"The Oakland queer festival, taking place May 17-19, features an epic block party, drag theater and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oaklash Stays True to the Rebellious, Political Heart of Drag","datePublished":"2024-05-15T16:26:06.000Z","dateModified":"2024-05-15T16:26:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957872","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957872/oaklash-drag-festival-oakland-lgtbq-events-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven years in, there’s something about \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> that still feels fresh. Not only does the Oakland drag festival offer plenty of sparkly, gender-bending spectacle, it’s also a champion of disability and racial justice — and the organizers put their money where their mouth is. Thanks to their \u003ca href=\"https://www.oaklash.com/grants\">Disability Fund\u003c/a> and \u003ca href=\"https://www.oaklash.com/o-snap\">Skills for Nightlife Accelerator Program\u003c/a> (O-SNAP), Oaklash has nurtured dozens of artists who are now making politically urgent, community-minded work, and lifting up others while doing it.\u003c/p>\n\u003cp>This year’s Oaklash takes place May 17-19 in multiple Oakland locations. How to navigate the packed weekend of lip syncs, dance parties and immersive theater? And preferably do it without losing a wig or breaking a nail?\u003c/p>\n\u003cp>“Show up a blank slate. Show up ready to have your mind blown. Show up ready to meet the love of your life,” says co-organizer Mama Celeste, who founded Oaklash with Beatrix LaHaine in 2018. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The festival kicks off Friday night at Nectar Social Club with an eco-sexual-themed party produced by the latest O-SNAP cohort (Piss E Sissy, Holden Wood, Jasmine Robinson, Andrea Wang and Vanessa Hernandez). The dress code encourages green, leafy and slutty (think “plant-based perversion,” as Piss E Sissy put it). The party kicks off with a mixer for new and experienced performers alike, followed by a drag show by BB Gunz, Mommy Dommest, Evangeline Laveau and Translucent; live music from Cuban hip-hop artist Krudas Cubensi and a set by Renaissance the DJ.\u003c/p>\n\u003cfigure id=\"attachment_13929146\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"two colorfully dressed drag performers pose for the camera while people fill the street behind them at a drag festival\" width=\"2560\" height=\"1527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-800x477.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1020x608.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-768x458.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1536x916.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-2048x1221.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mama-Celeste-and-Beatrix-Lahaine-by-Fred-Rowe-Oaklash-2022-1920x1145.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mama Celeste and Beatrix Lahaine, founders of Oaklash, pose at 2022’s festival. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fun continues on Saturday, May 18, with an epic block party on 9th Street and Broadway in Old Oakland, headlined by \u003ci>RuPaul’s Drag Race\u003c/i> Season 15 winner Sasha Colby and award-winning drag king and television personality Landon Cider. With over 70 performers and two stages, this is an opportunity to see a huge variety of creative expression from local drag luminaries such as Nicki Jizz, founder of San Francisco’s only all-Black drag show, Reparations; drag king and activist Harddeep Singh; Oaklash co-founder LaHaine and more. Performances will continue at the \u003ca href=\"https://www.instagram.com/p/CeCK1z7vRrf/\">Afterkii\u003c/a> at nearby club ForTheCulture.\u003c/p>\n\u003cfigure id=\"attachment_13914980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914980\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg\" alt=\"Drag queen on all fours with crowd surrounding\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz performs at Princess at Oasis. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Celeste says Oaklash especially embraces artists whose work responds to the current political moment. While many arts organizations have remained silent on Israel’s bombardment of Gaza — some have even penalized artists for speaking out against it — Mama Celeste says won’t be the case at Oaklash. (She notes that Oaklash is a fiscal sponsor of \u003ca href=\"https://www.instagram.com/thebadfund?igsh=MzRlODBiNWFlZA%3D%3D\">the BAD Fund\u003c/a>, which provides funding for drag artists if they need to drop out of gigs from funders or promoters they find politically objectionable.)\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>“If you provide the space for artists to do whatever they want, they’re going to get up there and they’re going to talk about what’s most important to them,” she says. “What’s important to a lot of people in the Bay, a lot of people in the world, a lot of queer people right now, is solidarity with the people in Palestine and the Congo and Sudan.”\u003c/p>\n\u003cfigure id=\"attachment_13934554\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F.jpg\" alt=\"\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EBDA61AB-FF31-431B-A027-9C16A57C1C5F-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Drag kings Helixir, Papi Churro, King LOTUS BOY and Harddeep Singh. Helixir and Harddeep will both perform at Oaklash’s 2024 block party on May 18. \u003ccite>(Vita Hewitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its core, Oaklash celebrates drag’s countercultural and rebellious roots, and one of the festival’s guiding lights is the beloved, late drag mother \u003ca href=\"https://sfist.com/2021/05/19/phatima-rude-queer-punk-drag-icon-of-sf-scene-dies-at-55/\">Phatima Rude\u003c/a>, who will be honored May 19 in the festival finale, \u003ci>Rebirth: The Death of Drag\u003c/i>.\u003c/p>\n\u003cp>“It’s going to be very raw,” Mama Celeste says. “It’s going to be very intense. It’s going to be very emotional.”\u003c/p>\n\u003cp>Held at anarchist community space Omni Commons, the immersive theater piece and drag installation is led by Hollow Eve and the House of Rude — including Phatima’s drag daughter Kochina, a champion of drug safety and \u003ca href=\"https://www.kqed.org/news/11947448/there-to-save-a-life-san-francisco-bars-fight-fentanyl-overdoses-with-narcan\">harm reduction in the queer nightlife community\u003c/a>. Mama Celeste doesn’t quite know what to expect yet, but is sure the piece is going to capture Phatima Rude’s punk-rock spirit and penchant for the otherworldly, strange and surreal.\u003c/p>\n\u003cp>“I told Hollow to not tell me what they’re doing because I don’t want to know. I want to go and I want to be surprised and shocked as everybody else,” Mama Celeste says. “But it’s very, very different than what people have come to expect from the Pride Festival or anything like that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaklash takes place at various Oakland venues May 17-19. \u003ca href=\"https://www.eventbrite.com/e/oaklash-2024-registration-814569989767?aff=oddtdtcreator\">Individual event tickets\u003c/a> are $20 each; $50 weekend passes are sold out. \u003ca href=\"https://www.oaklash.com/lineup\">Full schedule here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957872/oaklash-drag-festival-oakland-lgtbq-events-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_1556","arts_22152","arts_585"],"featImg":"arts_13957874","label":"arts_140"},"arts_13957845":{"type":"posts","id":"arts_13957845","meta":{"index":"posts_1591205157","site":"arts","id":"13957845","score":null,"sort":[1715729990000]},"guestAuthors":[],"slug":"mother-and-daughter-duet-flowers-and-fog-joy-chenyu-lewis-melissa-lewis-wong","title":"Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show","publishDate":1715729990,"format":"standard","headTitle":"Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For most of \u003ca href=\"https://www.melissalewis.art/\">Melissa Lewis Wong\u003c/a>’s adult life, no news was good news in their family – it was normal for Wong and their parents to go several weeks without talking. But when Covid hit, the dance and drag artist felt an urge to connect more frequently, and deeply, with their parents.\u003c/p>\n\u003cp>“The fear of them passing or having complications from Covid was really, really present for me,” Wong says. “It made me realize, especially with my mom, how much I felt that I didn’t know yet – that I hadn’t really asked, that I just wanted more information and connection around.”\u003c/p>\n\u003cp>[aside postID='news_11973503']Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown. \u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.) \u003c/p>\n\u003cp>[aside postID='arts_13956218']Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life. \u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Melissa Lewis Wong and mother Joy ChenYu Lewis explore familial bonds in a short film-turned-stage show.","status":"publish","parent":0,"modified":1715729990,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":647},"headData":{"title":"Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show | KQED","description":"Melissa Lewis Wong and mother Joy ChenYu Lewis explore familial bonds in a short film-turned-stage show.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show","datePublished":"2024-05-14T23:39:50.000Z","dateModified":"2024-05-14T23:39:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957845","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957845/mother-and-daughter-duet-flowers-and-fog-joy-chenyu-lewis-melissa-lewis-wong","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of \u003ca href=\"https://www.melissalewis.art/\">Melissa Lewis Wong\u003c/a>’s adult life, no news was good news in their family – it was normal for Wong and their parents to go several weeks without talking. But when Covid hit, the dance and drag artist felt an urge to connect more frequently, and deeply, with their parents.\u003c/p>\n\u003cp>“The fear of them passing or having complications from Covid was really, really present for me,” Wong says. “It made me realize, especially with my mom, how much I felt that I didn’t know yet – that I hadn’t really asked, that I just wanted more information and connection around.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11973503","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown. \u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\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>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life. \u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957845/mother-and-daughter-duet-flowers-and-fog-joy-chenyu-lewis-melissa-lewis-wong","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_2654","arts_3226","arts_6285","arts_585"],"featImg":"arts_13957847","label":"arts_140"},"arts_13957481":{"type":"posts","id":"arts_13957481","meta":{"index":"posts_1591205157","site":"arts","id":"13957481","score":null,"sort":[1715248831000]},"guestAuthors":[],"slug":"ear-hustle-introduces-us-to-the-seniors-of-california-institution-for-women","title":"‘Ear Hustle’ Introduces Us to Seniors in the California Institution for Women","publishDate":1715248831,"format":"audio","headTitle":"‘Ear Hustle’ Introduces Us to Seniors in the California Institution for Women | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As we celebrate Mother’s Day, we’re taking some time to honor all the kinds of relationships that people have with their mothers. We’re especially thinking about those who are missing their mothers or mothers who are missing their children.\u003c/p>\n\u003cp>More than just thinking about them, we’re hearing from them. This week we’re passing the mic to our friends over at the podcast \u003ca href=\"https://www.earhustlesq.com/episodes/2023/9/20/once-youre-in-the-ocean-youre-going-everywhere\">Ear Hustle\u003c/a>, from PRX’s Radiotopia. It’s a special episode that highlights the stories of elderly mothers who are incarcerated at the California Institution for Women, a prison located in Chino, CA.\u003c/p>\n\u003cp>Their tales of aging behind bars while yearning for family are gut-wrenching but necessary. We can’t grow as a people unless we understand the plight of those on the margins of society. And when it comes to ensuring that we grow as a people, that’s something that mothers know best.\u003c/p>\n\u003cp>Happy Mother’s Day from the Rightnowish family!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2810419346\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Rightnowish Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey ya’ll, welcome to Rightnowish. I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s Mother’s Day weekend, a day for celebration — and for some, a day that opens wounds. I want to give some love to those who have strained relationships or are missing their moms in one way or another. I’m also thinking about the mothers who are missing their children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, we’re going to hear from some mothers who are incarcerated, particularly senior women with adult children. We’ll do that by passing the mic to our friends at Radiotopia’s Ear Hustle, a podcast that shares the daily realities of life inside prison, from those living it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this episode, co-hosts Earlonne Woods and Nigel Poor pay a visit to the senior center located at the California Institution for Women, and talk to residents about aging and navigating family relationships from within prison walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A heavy, but much needed discussion, coming up right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor, Ear Hustle Co-Host: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m just going to describe the scene a little bit. There’s a big television on the wall. It was probably about 54 inches and we’re watching PBS and there’s a woman stretching and Earlonne is really getting into it. He’s doing modern dance right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods, Ear Hustle Co-Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeans, Nigel. These are not yoga pants. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">He’s still doing a really good job. And Bruce is even jumping in a little bit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I can do that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[workout audio playing in the background] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">This was at the California Institution for Women, a prison near LA where you and I have been spending a lot of time these days, Nyge. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And we are in a room they call the Senior Center. But don’t think about some big fancy complex. It’s basically a large carpeted windowless room in a structure that is kind of like a double-wide trailer. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Where’s your rhythm? You done threw us off.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[background chattering] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">She’s going there. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I got a bad knee and a replaced knee now, y’all. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You know how they always tell us we have to keep our distance inside prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Mm-hmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I loved how we could just kind of let our guard down a little bit. It was really fun to kick back and try to keep up with those ladies. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I felt like I got my workout in for the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel it. I definitely feel it. I feel stretched. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m putting my shoes back on. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait a minute. Hold on. What you mean you putting your shoes back on? Nigel, we only two minutes into this. Leslie’s still going. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I know. She’s good. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Are you done? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Our friend, Leslie, is kind of the ringleader here at the Senior Center, which come to think of it, just got a rebranding. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, it did. So right now, we are in the She Shed, which I like better than the Senior Center, I have to say. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s kind of fun. We’ll see how it goes over. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. It brings up conversation when you say it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Nyge, with all the time that they give you in California, the prison population is kind of old. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s aging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">There are segments that are and have been there for a long time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely. And Leslie is part of that. She’s been in prison, I mean, since her 20s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, 19. So, her idea for the Senior Center was, how can we make prison more accommodating for old people? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Leslie convinced the prison to open up this room, and she got some boardgames and some greenery and lamps and started getting the word out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">At first, I thought I would be like Julie from The Love Boat, create these programs, social director and all this. But it’s been a long, slow process of getting people curious and interested. At first, there was, I think, a feeling that this was a Band-Aid on an ongoing problem of the aging population, and so they weren’t going to come. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Were people angry at you or resentful that you were wanting to spearhead this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think that– it could have been, and I missed it, but I think it was just more angry that they’re still incarcerated. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[pensive music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">We can’t do much about the diet, but we can stay in mental shape and physical and spiritual. This is hopefully more of a holistic thing to stay sharp and good and also being recognized, because I don’t think people are aware that there’s so many women over 60 incarcerated. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">My name is Gladys Ortiz. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do you love about the Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s so much to do there. Yeah, and you get to socialize with people your age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been incarcerated? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">Seven. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">And what is your sentence? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">I got 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Oka\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">y. How old were you when you came to prison? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">60 years old. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Had you ever been to prison before? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">Never. It’s a little embarrassing too, because I have my grown children who now have to learn how to maneuver prison. And then, I learned about 50-minute phone calls. I never thought I’d be here. Never. It’s like, wow. None of my friends back home– I’ve disappeared, I’ve just fallen off the face of the earth. Nobody knows I’m here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do they think happened to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">These older women, you don’t really see them when you’re walking around the main part of the prison. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Nah, they don’t hang out like that. They probably spend a lot of their time in the cell. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, it’s actually cool when you get to the Senior Center and it’s a place just for them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep. It’s a cubbyhole, you know what I’m saying? They get to go hang out. They got air conditioning and you definitely need that in that part of California. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You definitely want air conditioning. So, I think that makes it attractive. But it’s open every day and they have so many activities, like the exercising. They have different people coming in to give talks. And once a week, I think at least once a week, they show movies. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you all seen The Notebook? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do you think of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I wasn’t into it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Men love this movie and women are like, “Really?” Oh, wait a minute. You said you loved it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I loved it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, okay. I take back what I said. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">I thought it was interesting and educational for people who’ve never had an instance to recognize Alzheimer’s.\u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Earlonne I love this. Men see The Notebook as a romance movie, and women, at least here at the Senior Center, see it as an Alzheimer’s movie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay. It’s quite a distressing disease, not only for the person suffering, but for all of the family as well. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, you were more drawn to it because of that, not because of the romance? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, not the romance. [laughs] I want you to see how they portray the Alzheimer’s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">The romance seemed a little corny. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I just have to say this, I’ve never met so many men in my life that cried over this movie than at San Quentin. Even this dude got all teary about it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Did I? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, we need to rewatch it and think about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You told me you did, you find it very emotional. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a cool story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, one of the most popular things to do in this little area are these bicycles. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Really? Bicycles? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean well, they’re like miniatures. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re like little pedals on the ground. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Pedals, sprockets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, after the stretching, I think we wanted to redeem ourselves, so we both sat down and started pedaling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Earlonne Woods. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Nigel. Nigel Poor. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma: \u003c/b>\u003cspan style=\"font-weight: 400\">Nigel. Earlonne. And? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bruce: \u003c/b>\u003cspan style=\"font-weight: 400\">Bruce. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Bruce. LaVelma Byrd. Yes, thank you. Pleased to meet you all. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been here, LaVelma? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, 29 years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What are you doing right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">You seen that little thing on TV where people sit in their chair and work their legs? That’s what this is. \u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like a bike. A little bike. And are you a senior? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m 72. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">72, okay. What is this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Because I have arthritis in both of my hands and the bouncing, I made this little soft cushion for my hands when I’m walking with my walker. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you remember LaVelma and her walker? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It was all decked out. She’d done all this handiwork crocheting to make the handles softer and give it some personality. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, she was cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you find that do you stay separate from the younger people? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">As much as possible. [laughs] I’m going to be totally honest. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Are they bullies, or they just have a different way? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you think it would be a good idea to have younger people house separately? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, ma’am. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">And some of the old rowdy ones too. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Don’t leave them out. There’s a few of them too. They’re up in age. They should know better. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">When you stepped in here 29 years ago, how was you moving? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, I was out working out every day. I was running 30 laps around the track every day. I was in good shape when I came here. But now, gravity and everything else have caught up with me. \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Ms. Christine. We started calling each other– the older people started calling us by our first names, but we say Miss. So, Ms. Lainey, Ms. Candice, Ms. Christine, Ms. Leslie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You remember Christine, right?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">She definitely spends a lot of time down the Senior Center. And she had that beautiful long \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Braid. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">-silver braid. And she’s the type of person that likes to sit against the wall and kind of take in the whole scene, makes sure she knows everything that’s happening down there. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been here four years and was three years in Chowchilla, so I haven’t been here as long as some people. I came to prison when I was 72. Not all of us are lifelong criminals. And speaking for myself, most of my friends have been teachers and nurses and lawyers, and one is a doctor. And we are not lifelong criminals, and we’d really prefer not to be around criminal activity in prison. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know I’m a criminal. I did commit a crime when I was 71. But as a person, I am not a criminal. I’ve not ever led a criminal lifestyle. I was never arrested before. And many of these older people are in the same boat that I’m in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It took 71 years to commit a crime? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Alcohol and a loaded gun, and one second, and now I’m a criminal for the rest of my life. But I’m not asking for sympathy. I know that’s what happened, and I know that I’m here. I just would prefer while in prison not to be around people who led a criminal lifestyle. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, we don’t normally do this, but you brought it up. Can we ask you what your crime was? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. I killed someone when I was drunk and a loaded gun was there. I am here for first-degree murder, and not only first degree, but also gun enhancement, which means that I’ll never get out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And who did you kill? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I killed a close relative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, what we really wanted to talk to you about is what is it like, as you were saying, to come to prison at 71 when you’ve lived a long, professional life? I believe you were– \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I was a retired nurse. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And how does someone adjust? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a rude shock. [chuckles] It’s a very rude shock. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I mean, did you ever see this in your future? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">No. I never thought about prison. I never considered prison. It was totally not in my world. I always thought that really, really bad, hardened people who had committed terrible crimes went to prison, obviously. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Tell us, what is it like when you’re 71 to walk into a prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">They gave me an upper bunk, first of all, which it was hard. It was hard because I have to get up and pee during the night. So, it means you have to come down carefully, get to the bathroom, get up carefully without waking anybody up and all that a couple of times a night. It was very difficult. I was put in with people that fought in the room, had fights with each other, girlfriends, always these jealousy fights and blood, women having sex with each other in the shower or over to the side of me. And I got used to all of that. But people being up all night because they were tweaking and they were up all night making noise, and I couldn’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved into a room with this couple, and they liked to play the radio really loud, and it was rap music. And I asked them one day if they would turn it down, and they just turned on me [chuckles] like wild beasts. And they told me, “Get out of the room.” And I got out of the room for a while. But you can absolutely not tell anybody in the room in Chowchilla what kind of noise they can make or can’t make. That’s a huge issue. I had no clout at all. I had no clout. I had nothing. I didn’t sell drugs. I didn’t have any stature there at all. So I was like at the bottom of the heap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You were just an old person in prison. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I was an old person without a whole lot to offer. And I wasn’t even an interesting old person that could do drugs or something or that had anything going for me in prison at all. I didn’t have anything. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">My name’s Lanie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been in prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Since 1988. I’m sorry I have a new partial– \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and I’m having a hard time in case I sound a little old lady stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Lanie came in, she had those bright eyes with the short hairstyle, and she was very engaging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I mean, I found her proper. I don’t know what else to say. Hospitable. And she seemed to me like a character out of a southern novel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Kentucky Derby. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe, with the hat and the gloves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The hat and the gloves. Betting on horses. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Ooh. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How old are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m 76 now. I was 41 then. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your sentence? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">LWOP.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">LWOP stands for life without parole. Most people say life without the possibility of parole, but it’s life without parole. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. And considering that’s what she’s dealing with, there’s a lot more going on with her beyond this proper southern lady description we gave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, definitely. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is the Senior Center about? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">When it first opened, I wasn’t real impressed because I thought it was just a way for them to say they did something for us when we’re really used to being invisible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">When you say invisible, do you mean being someone who’s in prison or being a woman, being someone who’s older? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Being elderly. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Can you talk about that invisibility? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">This is set up for young people, basically. Even at 50, I felt young. You can do it. You can keep up with the program. You can hustle. You just keep the pace. It’s a fast pace. And at 76, I don’t care how hard you try, and I’ve got two hip replacements and deteriorating bones. You can’t keep the pace anymore. You just can’t. The getting up, even getting ready and getting out the door, it’s a challenge. Or to get to the shower and to have to use a particular shower because another shower is slippery and you might fall. There are struggles everywhere. I don’t want to go around saying, “I can’t do this,” or, “I can’t do that.” I got the cane and I won’t make it. The grace of God, I’m going to be okay. But it makes it so much more difficult. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We have a lot of people here now who are over 70, 75, 80 years old, and I don’t think they’ve ever had this kind of accumulation of elderly before. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, when you came in at 41, is that what you said, were there elderly women? \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Very, very few. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And do you remember seeing any older women– \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And what did you think when–? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, my heart went out to them because I had wonderful relationships with my grandparents. And so, you try to help them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">But when you saw them, did it worry you, like, “Oh, my God, that could be me one day”? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I never thought that this would last that long. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">When I first came into the women’s prison, I was thrown by seeing older women in prison. It wasn’t even in my mindset. I didn’t even think older women would be in prison. And I spent a long time in men prison. I’m used to seeing older men, and when I seen it, I was like, “Damn.” I don’t know, that was one of them days you just left depleted. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Are there a lot of older men in prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Earlonne and I have talked about this a lot. We find it way harder to see older women in prison. I don’t think about it when I’m at a men’s prison and there’s plenty of old men there. Why do you think it’s so much harder for us to see older women in prison? Like you said, it’s draining. It is really heavy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, that’s a good question. And it’s interesting because to me, it would be sad to see older men too. It’s sad with women because the saddest thing for me is family. I’ll start crying if I talk about it, so I’d rather not. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, but why do you think it affects us so much? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, because we’re maternal. Mothers are not meant to make mistakes and commit crimes and come to prison. We’re just not. And I hate the fact that I did this to my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like older women are not supposed to be in prison, and I’m trying to figure out why I don’t have that feeling about older men. You know what I mean? It’s very hard for me to separate my heart feeling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Were you very close to your mother? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m very close to my mother. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I think, like I said before, we’re all a product of our environment. Just like me, I had a great relationship, as I said, not only with my grandparents, but with my mother. So, when I would see these elderly ladies in prison when I first came, I’d make their beds, I’d do their laundry, anything I could to help them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Your supposition is that the three of us have very close relationships with older women in our lives, or did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe if not even with your inner family, with someone older that influenced your life. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">But now, I’m smiling because what does that say about what we think about men? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, did you have a great relationship with your father? [laughs] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I have very different feelings about men than I have about women. And now, I’m wondering–\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [crosstalk] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">And I do too. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for that revelation. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m ready for the hereafter. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How so? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, I believe I’m going to heaven. I believe in heaven. I don’t have a real close personal relationship with my grandchildren because my son was raised coming to prison to see mom. He was only six at the time. And he has decided he doesn’t want his children to know that I’m in prison. And I have to respect that. My son and I talk a couple of times a week, and I get tons and tons of pictures and videos and everything of the kids, but we tiptoe around it, and it’s heartbreaking. My daughter-in-law is a schoolteacher, and she’s wonderful. But she was trying to get him to go to a funeral one day. He who’s usually very accommodating and kind, said, “I’m not going to any funerals. I live with the death that never ends.” Meaning I can’t take anymore. He’s very emotional. And so, I think once I’m gone I’m gone, and he don’t have to continue living the death that never ends. “My mom’s gone, and she can’t come home.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">So, it’s heavy. It’s heavy aging in prison and not just dealing with it myself but trying to help others to deal with it. My family, especially my child. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">The heartache never ends. You accept it, but it doesn’t mean that it doesn’t hurt.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Rightnowish Host: \u003c/b>\u003cspan style=\"font-weight: 400\">That was an excerpt from Radiotopia’s podcast, Ear Hustle. To listen to the rest of this episode look up “Ep 94: Once You’re in the Ocean, You’re Going Everywhere” on ear hustlesq.com. To hear other Ear Hustle episodes- they have 13 seasons so plenty to immerse yourself in- find them on your favorite podcast app. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big ups to their team! Ear Hustle is produced by Nigel Poor, Earlonne Woods, Amy Standen, Bruce Wallace, and Rahsaan “New York” Thomas. Shabnam Sigman is the managing producer. The producing team inside San Quentin includes Steve Brooks, Derrell Sadiq Davis, Tony de Trinidad, Tam Nguyen and Tony Tafoya. Earlonne Woods sound designs and engineers the show with help from Fernando Arruda and Derrell Sadiq Davis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was made possible by The Just Trust, working to amplify the voices, vision and power of communities that are transforming the justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks y’all. Love on your people. Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Prisons weren’t designed for older folks, and the California Institution for Women is no exception.","status":"publish","parent":0,"modified":1715213135,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":215,"wordCount":4973},"headData":{"title":"‘Ear Hustle’ Introduces Us to Seniors in the California Institution for Women | KQED","description":"We're sharing an episode of "Ear Hustle" podcast from PRX’s Radiotopia. It highlights the stories of seniors who are incarcerated at California's Institution for Women, a prison located in Chino, CA.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"We're sharing an episode of "Ear Hustle" podcast from PRX’s Radiotopia. It highlights the stories of seniors who are incarcerated at California's Institution for Women, a prison located in Chino, CA.","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Ear Hustle’ Introduces Us to Seniors in the California Institution for Women","datePublished":"2024-05-09T10:00:31.000Z","dateModified":"2024-05-09T00:05:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC2810419346.mp3?updated=1715202639","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957481/ear-hustle-introduces-us-to-the-seniors-of-california-institution-for-women","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As we celebrate Mother’s Day, we’re taking some time to honor all the kinds of relationships that people have with their mothers. We’re especially thinking about those who are missing their mothers or mothers who are missing their children.\u003c/p>\n\u003cp>More than just thinking about them, we’re hearing from them. This week we’re passing the mic to our friends over at the podcast \u003ca href=\"https://www.earhustlesq.com/episodes/2023/9/20/once-youre-in-the-ocean-youre-going-everywhere\">Ear Hustle\u003c/a>, from PRX’s Radiotopia. It’s a special episode that highlights the stories of elderly mothers who are incarcerated at the California Institution for Women, a prison located in Chino, CA.\u003c/p>\n\u003cp>Their tales of aging behind bars while yearning for family are gut-wrenching but necessary. We can’t grow as a people unless we understand the plight of those on the margins of society. And when it comes to ensuring that we grow as a people, that’s something that mothers know best.\u003c/p>\n\u003cp>Happy Mother’s Day from the Rightnowish family!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2810419346\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Rightnowish Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey ya’ll, welcome to Rightnowish. I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s Mother’s Day weekend, a day for celebration — and for some, a day that opens wounds. I want to give some love to those who have strained relationships or are missing their moms in one way or another. I’m also thinking about the mothers who are missing their children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today, we’re going to hear from some mothers who are incarcerated, particularly senior women with adult children. We’ll do that by passing the mic to our friends at Radiotopia’s Ear Hustle, a podcast that shares the daily realities of life inside prison, from those living it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this episode, co-hosts Earlonne Woods and Nigel Poor pay a visit to the senior center located at the California Institution for Women, and talk to residents about aging and navigating family relationships from within prison walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A heavy, but much needed discussion, coming up right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor, Ear Hustle Co-Host: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m just going to describe the scene a little bit. There’s a big television on the wall. It was probably about 54 inches and we’re watching PBS and there’s a woman stretching and Earlonne is really getting into it. He’s doing modern dance right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods, Ear Hustle Co-Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeans, Nigel. These are not yoga pants. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">He’s still doing a really good job. And Bruce is even jumping in a little bit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I can do that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[workout audio playing in the background] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">This was at the California Institution for Women, a prison near LA where you and I have been spending a lot of time these days, Nyge. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And we are in a room they call the Senior Center. But don’t think about some big fancy complex. It’s basically a large carpeted windowless room in a structure that is kind of like a double-wide trailer. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Where’s your rhythm? You done threw us off.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[background chattering] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">She’s going there. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I got a bad knee and a replaced knee now, y’all. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You know how they always tell us we have to keep our distance inside prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Mm-hmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I loved how we could just kind of let our guard down a little bit. It was really fun to kick back and try to keep up with those ladies. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I felt like I got my workout in for the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel it. I definitely feel it. I feel stretched. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m putting my shoes back on. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait a minute. Hold on. What you mean you putting your shoes back on? Nigel, we only two minutes into this. Leslie’s still going. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I know. She’s good. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Are you done? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Our friend, Leslie, is kind of the ringleader here at the Senior Center, which come to think of it, just got a rebranding. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, it did. So right now, we are in the She Shed, which I like better than the Senior Center, I have to say. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s kind of fun. We’ll see how it goes over. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. It brings up conversation when you say it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Nyge, with all the time that they give you in California, the prison population is kind of old. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s aging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">There are segments that are and have been there for a long time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely. And Leslie is part of that. She’s been in prison, I mean, since her 20s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, 19. So, her idea for the Senior Center was, how can we make prison more accommodating for old people? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Leslie convinced the prison to open up this room, and she got some boardgames and some greenery and lamps and started getting the word out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">At first, I thought I would be like Julie from The Love Boat, create these programs, social director and all this. But it’s been a long, slow process of getting people curious and interested. At first, there was, I think, a feeling that this was a Band-Aid on an ongoing problem of the aging population, and so they weren’t going to come. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Were people angry at you or resentful that you were wanting to spearhead this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think that– it could have been, and I missed it, but I think it was just more angry that they’re still incarcerated. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[pensive music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">We can’t do much about the diet, but we can stay in mental shape and physical and spiritual. This is hopefully more of a holistic thing to stay sharp and good and also being recognized, because I don’t think people are aware that there’s so many women over 60 incarcerated. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">My name is Gladys Ortiz. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do you love about the Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s so much to do there. Yeah, and you get to socialize with people your age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been incarcerated? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">Seven. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">And what is your sentence? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">I got 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Oka\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">y. How old were you when you came to prison? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">60 years old. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Had you ever been to prison before? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">Never. It’s a little embarrassing too, because I have my grown children who now have to learn how to maneuver prison. And then, I learned about 50-minute phone calls. I never thought I’d be here. Never. It’s like, wow. None of my friends back home– I’ve disappeared, I’ve just fallen off the face of the earth. Nobody knows I’m here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do they think happened to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gladys Ortiz: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">These older women, you don’t really see them when you’re walking around the main part of the prison. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Nah, they don’t hang out like that. They probably spend a lot of their time in the cell. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, it’s actually cool when you get to the Senior Center and it’s a place just for them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep. It’s a cubbyhole, you know what I’m saying? They get to go hang out. They got air conditioning and you definitely need that in that part of California. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You definitely want air conditioning. So, I think that makes it attractive. But it’s open every day and they have so many activities, like the exercising. They have different people coming in to give talks. And once a week, I think at least once a week, they show movies. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you all seen The Notebook? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What do you think of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I wasn’t into it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Men love this movie and women are like, “Really?” Oh, wait a minute. You said you loved it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I loved it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, okay. I take back what I said. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">I thought it was interesting and educational for people who’ve never had an instance to recognize Alzheimer’s.\u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Earlonne I love this. Men see The Notebook as a romance movie, and women, at least here at the Senior Center, see it as an Alzheimer’s movie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay. It’s quite a distressing disease, not only for the person suffering, but for all of the family as well. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, you were more drawn to it because of that, not because of the romance? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Female Speaker: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, not the romance. [laughs] I want you to see how they portray the Alzheimer’s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">The romance seemed a little corny. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I just have to say this, I’ve never met so many men in my life that cried over this movie than at San Quentin. Even this dude got all teary about it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Did I? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, we need to rewatch it and think about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You told me you did, you find it very emotional. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a cool story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, one of the most popular things to do in this little area are these bicycles. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Really? Bicycles? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean well, they’re like miniatures. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re like little pedals on the ground. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Pedals, sprockets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, after the stretching, I think we wanted to redeem ourselves, so we both sat down and started pedaling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Earlonne Woods. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Nigel. Nigel Poor. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma: \u003c/b>\u003cspan style=\"font-weight: 400\">Nigel. Earlonne. And? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bruce: \u003c/b>\u003cspan style=\"font-weight: 400\">Bruce. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Bruce. LaVelma Byrd. Yes, thank you. Pleased to meet you all. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been here, LaVelma? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, 29 years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">What are you doing right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">You seen that little thing on TV where people sit in their chair and work their legs? That’s what this is. \u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like a bike. A little bike. And are you a senior? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m 72. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">72, okay. What is this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Because I have arthritis in both of my hands and the bouncing, I made this little soft cushion for my hands when I’m walking with my walker. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you remember LaVelma and her walker? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">It was all decked out. She’d done all this handiwork crocheting to make the handles softer and give it some personality. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, she was cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you find that do you stay separate from the younger people? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">As much as possible. [laughs] I’m going to be totally honest. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Are they bullies, or they just have a different way? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you think it would be a good idea to have younger people house separately? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, ma’am. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">And some of the old rowdy ones too. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Don’t leave them out. There’s a few of them too. They’re up in age. They should know better. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">When you stepped in here 29 years ago, how was you moving? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LaVelma Byrd: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, I was out working out every day. I was running 30 laps around the track every day. I was in good shape when I came here. But now, gravity and everything else have caught up with me. \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Ms. Christine. We started calling each other– the older people started calling us by our first names, but we say Miss. So, Ms. Lainey, Ms. Candice, Ms. Christine, Ms. Leslie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Leslie: \u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You remember Christine, right?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">She definitely spends a lot of time down the Senior Center. And she had that beautiful long \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Braid. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">-silver braid. And she’s the type of person that likes to sit against the wall and kind of take in the whole scene, makes sure she knows everything that’s happening down there. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been here four years and was three years in Chowchilla, so I haven’t been here as long as some people. I came to prison when I was 72. Not all of us are lifelong criminals. And speaking for myself, most of my friends have been teachers and nurses and lawyers, and one is a doctor. And we are not lifelong criminals, and we’d really prefer not to be around criminal activity in prison. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know I’m a criminal. I did commit a crime when I was 71. But as a person, I am not a criminal. I’ve not ever led a criminal lifestyle. I was never arrested before. And many of these older people are in the same boat that I’m in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It took 71 years to commit a crime? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Alcohol and a loaded gun, and one second, and now I’m a criminal for the rest of my life. But I’m not asking for sympathy. I know that’s what happened, and I know that I’m here. I just would prefer while in prison not to be around people who led a criminal lifestyle. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, we don’t normally do this, but you brought it up. Can we ask you what your crime was? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. I killed someone when I was drunk and a loaded gun was there. I am here for first-degree murder, and not only first degree, but also gun enhancement, which means that I’ll never get out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And who did you kill? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I killed a close relative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, what we really wanted to talk to you about is what is it like, as you were saying, to come to prison at 71 when you’ve lived a long, professional life? I believe you were– \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I was a retired nurse. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And how does someone adjust? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a rude shock. [chuckles] It’s a very rude shock. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I mean, did you ever see this in your future? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">No. I never thought about prison. I never considered prison. It was totally not in my world. I always thought that really, really bad, hardened people who had committed terrible crimes went to prison, obviously. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Tell us, what is it like when you’re 71 to walk into a prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">They gave me an upper bunk, first of all, which it was hard. It was hard because I have to get up and pee during the night. So, it means you have to come down carefully, get to the bathroom, get up carefully without waking anybody up and all that a couple of times a night. It was very difficult. I was put in with people that fought in the room, had fights with each other, girlfriends, always these jealousy fights and blood, women having sex with each other in the shower or over to the side of me. And I got used to all of that. But people being up all night because they were tweaking and they were up all night making noise, and I couldn’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved into a room with this couple, and they liked to play the radio really loud, and it was rap music. And I asked them one day if they would turn it down, and they just turned on me [chuckles] like wild beasts. And they told me, “Get out of the room.” And I got out of the room for a while. But you can absolutely not tell anybody in the room in Chowchilla what kind of noise they can make or can’t make. That’s a huge issue. I had no clout at all. I had no clout. I had nothing. I didn’t sell drugs. I didn’t have any stature there at all. So I was like at the bottom of the heap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You were just an old person in prison. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Christine: \u003c/b>\u003cspan style=\"font-weight: 400\">I was an old person without a whole lot to offer. And I wasn’t even an interesting old person that could do drugs or something or that had anything going for me in prison at all. I didn’t have anything. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">My name’s Lanie. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How long have you been in prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Since 1988. I’m sorry I have a new partial– \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and I’m having a hard time in case I sound a little old lady stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Lanie came in, she had those bright eyes with the short hairstyle, and she was very engaging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I mean, I found her proper. I don’t know what else to say. Hospitable. And she seemed to me like a character out of a southern novel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Kentucky Derby. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe, with the hat and the gloves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The hat and the gloves. Betting on horses. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Ooh. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[laughter] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How old are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m 76 now. I was 41 then. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your sentence? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">LWOP.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">LWOP stands for life without parole. Most people say life without the possibility of parole, but it’s life without parole. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. And considering that’s what she’s dealing with, there’s a lot more going on with her beyond this proper southern lady description we gave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, definitely. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is the Senior Center about? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">When it first opened, I wasn’t real impressed because I thought it was just a way for them to say they did something for us when we’re really used to being invisible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">When you say invisible, do you mean being someone who’s in prison or being a woman, being someone who’s older? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Being elderly. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Can you talk about that invisibility? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">This is set up for young people, basically. Even at 50, I felt young. You can do it. You can keep up with the program. You can hustle. You just keep the pace. It’s a fast pace. And at 76, I don’t care how hard you try, and I’ve got two hip replacements and deteriorating bones. You can’t keep the pace anymore. You just can’t. The getting up, even getting ready and getting out the door, it’s a challenge. Or to get to the shower and to have to use a particular shower because another shower is slippery and you might fall. There are struggles everywhere. I don’t want to go around saying, “I can’t do this,” or, “I can’t do that.” I got the cane and I won’t make it. The grace of God, I’m going to be okay. But it makes it so much more difficult. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We have a lot of people here now who are over 70, 75, 80 years old, and I don’t think they’ve ever had this kind of accumulation of elderly before. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">So, when you came in at 41, is that what you said, were there elderly women? \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Very, very few. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And do you remember seeing any older women– \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">And what did you think when–? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, my heart went out to them because I had wonderful relationships with my grandparents. And so, you try to help them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">But when you saw them, did it worry you, like, “Oh, my God, that could be me one day”? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I never thought that this would last that long. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Earlonne Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">When I first came into the women’s prison, I was thrown by seeing older women in prison. It wasn’t even in my mindset. I didn’t even think older women would be in prison. And I spent a long time in men prison. I’m used to seeing older men, and when I seen it, I was like, “Damn.” I don’t know, that was one of them days you just left depleted. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Are there a lot of older men in prison? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Earlonne and I have talked about this a lot. We find it way harder to see older women in prison. I don’t think about it when I’m at a men’s prison and there’s plenty of old men there. Why do you think it’s so much harder for us to see older women in prison? Like you said, it’s draining. It is really heavy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, that’s a good question. And it’s interesting because to me, it would be sad to see older men too. It’s sad with women because the saddest thing for me is family. I’ll start crying if I talk about it, so I’d rather not. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, but why do you think it affects us so much? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, because we’re maternal. Mothers are not meant to make mistakes and commit crimes and come to prison. We’re just not. And I hate the fact that I did this to my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like older women are not supposed to be in prison, and I’m trying to figure out why I don’t have that feeling about older men. You know what I mean? It’s very hard for me to separate my heart feeling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Were you very close to your mother? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m very close to my mother. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">I think, like I said before, we’re all a product of our environment. Just like me, I had a great relationship, as I said, not only with my grandparents, but with my mother. So, when I would see these elderly ladies in prison when I first came, I’d make their beds, I’d do their laundry, anything I could to help them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Your supposition is that the three of us have very close relationships with older women in our lives, or did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe if not even with your inner family, with someone older that influenced your life. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">But now, I’m smiling because what does that say about what we think about men? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, did you have a great relationship with your father? [laughs] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">I have very different feelings about men than I have about women. And now, I’m wondering–\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [crosstalk] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">And I do too. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for that revelation. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m ready for the hereafter. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">You are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">How so? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, I believe I’m going to heaven. I believe in heaven. I don’t have a real close personal relationship with my grandchildren because my son was raised coming to prison to see mom. He was only six at the time. And he has decided he doesn’t want his children to know that I’m in prison. And I have to respect that. My son and I talk a couple of times a week, and I get tons and tons of pictures and videos and everything of the kids, but we tiptoe around it, and it’s heartbreaking. My daughter-in-law is a schoolteacher, and she’s wonderful. But she was trying to get him to go to a funeral one day. He who’s usually very accommodating and kind, said, “I’m not going to any funerals. I live with the death that never ends.” Meaning I can’t take anymore. He’s very emotional. And so, I think once I’m gone I’m gone, and he don’t have to continue living the death that never ends. “My mom’s gone, and she can’t come home.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">So, it’s heavy. It’s heavy aging in prison and not just dealing with it myself but trying to help others to deal with it. My family, especially my child. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Lanie: \u003c/b>\u003cspan style=\"font-weight: 400\">The heartache never ends. You accept it, but it doesn’t mean that it doesn’t hurt.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Nigel Poor: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Rightnowish Host: \u003c/b>\u003cspan style=\"font-weight: 400\">That was an excerpt from Radiotopia’s podcast, Ear Hustle. To listen to the rest of this episode look up “Ep 94: Once You’re in the Ocean, You’re Going Everywhere” on ear hustlesq.com. To hear other Ear Hustle episodes- they have 13 seasons so plenty to immerse yourself in- find them on your favorite podcast app. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big ups to their team! Ear Hustle is produced by Nigel Poor, Earlonne Woods, Amy Standen, Bruce Wallace, and Rahsaan “New York” Thomas. Shabnam Sigman is the managing producer. The producing team inside San Quentin includes Steve Brooks, Derrell Sadiq Davis, Tony de Trinidad, Tam Nguyen and Tony Tafoya. Earlonne Woods sound designs and engineers the show with help from Fernando Arruda and Derrell Sadiq Davis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was made possible by The Just Trust, working to amplify the voices, vision and power of communities that are transforming the justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks y’all. Love on your people. Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957481/ear-hustle-introduces-us-to-the-seniors-of-california-institution-for-women","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1"],"tags":["arts_1893","arts_22085","arts_1526"],"featImg":"arts_13957488","label":"arts_8720"},"arts_13956839":{"type":"posts","id":"arts_13956839","meta":{"index":"posts_1591205157","site":"arts","id":"13956839","score":null,"sort":[1714644031000]},"guestAuthors":[],"slug":"dj-d-sharp","title":"D Sharp: The DJ with Four NBA Championship Rings","publishDate":1714644031,"format":"audio","headTitle":"D Sharp: The DJ with Four NBA Championship Rings | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"DJ D Sharp talks about spinning for Golden State Warriors games while building a legacy for his family.","status":"publish","parent":0,"modified":1714676977,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":85,"wordCount":3938},"headData":{"title":"D Sharp: The DJ with Four NBA Championship Rings | KQED","description":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","schema":{"@context":"http://schema.org","@type":"Article","headline":"D Sharp: The DJ with Four NBA Championship Rings","datePublished":"2024-05-02T10:00:31.000Z","dateModified":"2024-05-02T19:09:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7887334509.mp3?updated=1714612024","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956839/dj-d-sharp","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956839/dj-d-sharp","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_69","arts_13238"],"tags":["arts_5786","arts_1331","arts_2852","arts_831","arts_1143","arts_3298"],"featImg":"arts_13956840","label":"arts_8720"},"arts_13956388":{"type":"posts","id":"arts_13956388","meta":{"index":"posts_1591205157","site":"arts","id":"13956388","score":null,"sort":[1714039226000]},"guestAuthors":[],"slug":"nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","title":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’","publishDate":1714039226,"format":"audio","headTitle":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The fashionista, playwright, chef, thespian and 'master of fun' discusses her many artistic endeavors.","status":"publish","parent":0,"modified":1714070065,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":118,"wordCount":4185},"headData":{"title":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’ | KQED","description":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","schema":{"@context":"http://schema.org","@type":"Article","headline":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’","datePublished":"2024-04-25T10:00:26.000Z","dateModified":"2024-04-25T18:34:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8148943076.mp3?updated=1714006490","sticky":false,"nprStoryId":"kqed-13956388","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_73","arts_968","arts_835","arts_69","arts_1003"],"tags":["arts_820","arts_549","arts_7584","arts_1942","arts_10278","arts_2855","arts_831","arts_1072"],"featImg":"arts_13956394","label":"arts_8720"},"arts_13957096":{"type":"posts","id":"arts_13957096","meta":{"index":"posts_1591205157","site":"arts","id":"13957096","score":null,"sort":[1714679172000]},"guestAuthors":[],"slug":"challengers-throuple-zendaya-polyamorous-couple","title":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","publishDate":1714679172,"format":"standard","headTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>[aside postID='arts_13956512']\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area experts discuss the drama of unethical non-monogamy and the surprising tenderness of ‘Challengers.’","status":"publish","parent":0,"modified":1714688085,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1058},"headData":{"title":"A Polyamorous Couple Reviews ‘Challengers’: ‘Very Good Fantasy’ | KQED","description":"Bay Area experts discuss the drama of unethical non-monogamy and the surprising tenderness of ‘Challengers.’","ogTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","ogDescription":"","ogImgId":"","twTitle":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","twDescription":"","twImgId":"","socialTitle":"A Polyamorous Couple Reviews ‘Challengers’: ‘Very Good Fantasy’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In","datePublished":"2024-05-02T19:46:12.000Z","dateModified":"2024-05-02T22:14:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957096","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957096/challengers-throuple-zendaya-polyamorous-couple","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\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>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956512","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957096/challengers-throuple-zendaya-polyamorous-couple","authors":["11872"],"categories":["arts_1","arts_74"],"tags":["arts_10342","arts_10278","arts_977","arts_21968"],"featImg":"arts_13957100","label":"arts"},"arts_13956541":{"type":"posts","id":"arts_13956541","meta":{"index":"posts_1591205157","site":"arts","id":"13956541","score":null,"sort":[1714514805000]},"guestAuthors":[],"slug":"shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","title":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","publishDate":1714514805,"format":"standard","headTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]f all the topics covered in our hour-long Zoom call, one of the few that doesn’t make Shannon Shaw cry a little is pro wrestling great Mick “Mankind” Foley.\u003c/p>\n\u003cp>“I was in Detroit at the airport really early in the morning. I was like ‘Oh my God, is that Mankind? Holy shit!’” she says. “I was like, ‘You know what? He is the kind of celeb that I’m going to approach, and hopefully he’s as nice as he seems.’ He was so nice! He asked me if I wanted a photo.”\u003c/p>\n\u003cp>A few years later, she reposted the photo to her Instagram. A subsequent chain of online events led to her and her band, the Clams, going out to lunch with him in Nashville, where they were recording a new album.\u003c/p>\n\u003cp>And that’s how a WWE Hall of Famer ended up contributing hand claps to her new album \u003cem>\u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">The Moon Is In The Wrong Place\u003c/a>\u003c/em>.\u003c/p>\n\u003ch2>A devastating loss\u003c/h2>\n\u003cp>In some ways it’s a fitting coda to the past few years of Shaw’s life, which have been filled with one-in-a-million occurrences that brought her a staggering range of experiences, including a friendship with a pro wrestling legend, a dog she loves and the darkest days of her life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’ve been a local rock ‘n’ roll fan in the last 15 years, you have almost definitely heard Shaw’s voice. It may have been in Oakland retro-tinged punk legends Hunx and his Punx, or in her own band, Shannon and the Clams. The distinctive rasp in her singing voice and her striking personal style made her stand out in a crowded field of local indie acts in the 2010s, leading to a solo record on Dan Auerbach’s Easy Eye Sound and large-print appearances with Oakland’s \u003ca href=\"https://www.kqed.org/arts/13951325/mosswood-meltdown-lineup-b-52s-big-freedia\">Mosswood Meltdown festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg\" alt=\"Album cover with floating heads of band members in a starry night design\" width=\"800\" height=\"800\" class=\"size-full wp-image-13956547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-768x768.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new album from Shannon and the Clams, ‘The Moon Is In The Wrong Place,’ comes out May 10 on Easy Eye Sound. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you’re plugged into that scene, you likely also know the personal devastation that brought us this new record. In 2022, her fiancé Joe Haener — also a Bay Area rock icon, an in-demand drummer who played with bands like The Dodos, Rock N Roll Adventure Kids and his own band Gris Gris — died in a car crash outside his family farm in rural Oregon. The accident happened in front of a bean field that Shaw says “he was probably planning to harvest like within the next week or something.” \u003c/p>\n\u003cp>Haener’s passing stunned the local music community, and fans and friends of the couple paid tribute for weeks after: tribute concerts were arranged in his honor, and artists dedicated albums to him. Acclaimed Oakland taqueria Tacos Oscar put his recipe for beans on the menu. \u003c/p>\n\u003cp>“I really do feel like we have such incredible fans that they’re here for it, you know?” Shaw says of the outpouring of love she received and the anticipation for the new record. “They want to experience the music [on this record] knowing exactly what it’s about. And I just appreciate that so much.”\u003c/p>\n\u003ch2>A love story\n\u003c/h2>\u003cp>Shaw is generally cynical about whether the universe has grand plans for us all — these things tend to come up when you lose someone — but she believes in one notable exception: Joe Haener, and that his existence overlapped with hers at all. “I’m always [doubting myself] like, ‘Yeah you’re probably just looking really hard and making something out of nothing.’ But no,” she says. “There’s too many things.” \u003c/p>\n\u003cp>Their story starts serendipitously at a strip mall in Tualatin, Oregon. In town for a friend’s wedding, she was looking for a dress at a Lane Bryant a few doors down from a Starbucks. It started pouring, so she ducked into the coffee shop to wait out the rain. Haener’s family farm didn’t yet have internet access, so there he was using the wifi to download some shows to take back with him. “Probably the Garry Shandling show. He loved that shit.”\u003c/p>\n\u003cfigure id=\"attachment_13956731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg\" alt=\"Woman kisses small dog while holding bass guitar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw and Spanky-Joe in Los Angeles. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’d known Haener previously through the indie music world — and she had a huge, immediate crush on him. “I saw pictures of him and I’m like, ‘Oh my fucking lord. This is like the hunkiest man ever,’” she says, chuckling slightly. “I’m not normally like that, like a —” she makes an “awooga” sound, “but absolutely, Joe Haener, I totally was. Total wolf-[with]-steam-out-of-the-ears.”\u003c/p>\n\u003cp>After he shyly said hello in that Starbucks and asked if she remembered him, she invited him to be her date to the wedding. He had to be at the farm early the next morning, so he declined. They kept in touch, and in 2017 she met up with him after his birthday party – at 2 a.m., the only time they had to meet up while in the same city. Another suspiciously lucky turn of events unfolded: inclement weather canceled his early-morning flight. \u003c/p>\n\u003cp>“That’s [how] we became madly in love, [because] a lightning storm trapped him at my house,” Shaw remembers. “And we just played games and got to know each other and were both trying to pretend to not already be in love.” He proposed in 2020, and she moved to Portland to join him near the farm.\u003c/p>\n\u003ch2>Between sorrow and exuberance\u003c/h2>\n\u003cp>Shaw is calling from Los Angeles, where she moved to be close to friends and her support network. Spanky-Joe the dog is nestled sweetly in her lap. “I feel like he saved my life,” she says of Spanky, her voice breaking just a little. “And I just feel like even though Joe never got to meet him, somehow Joe and him crossed paths on the astral plane. And Joe was like, ‘I’m sending you to go take care of Shannon.’”\u003c/p>\n\u003cp>It’s still hard for her to talk about Haener, and yet, as she’s said on \u003ca href=\"https://www.instagram.com/p/C2OGLvjPYt_/?hl=en&img_index=1\">Instagram\u003c/a> and says on this call, “All I want to do is talk about Joe.” She spent last year doing just that, transferring her grief and confusion over to \u003cem>The Moon Is In The Wrong Place\u003c/em>, which she started writing almost immediately. “I had so much music in my head from the day he died,” she says. “Songs were coming to me.”\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" class=\"size-full wp-image-13956548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon and the Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. The whole band had grown close to Haener before his death. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result revels in the dichotomy of loss. \u003cem>The Moon Is In The Wrong Place\u003c/em> stings like a freshly skinned knee, honest in its depiction of grief to the point of being jarring. But it’s also brimming with a naked joy. It’s a celebration of Haener and the lives he touched during his time here. \u003c/p>\n\u003cp>Opener “The Vow” bludgeons you with that bittersweetness — it’s the song Shaw wrote as a surprise for their wedding. The rest of the Shaw-scribed songs continue in that tone, swinging wildly between sorrow and exuberance. “I’m someone who I think generally can run positive … I just can’t help but see all the extreme, vibrant, beautiful things right next to the really awful realities, you know?” she says.\u003c/p>\n\u003cp>That describes the time she spent in the bean fields, which became a haven for her and the Haener family in the weeks after the accident. “It was such a gnarly scene, you know? There was, like …” she hesitates a moment and her voice quiets. “Burnt flesh and clothing, and all of his personal stuff from his car … but then being surrounded by blossoms … that was like the first time I had been like ‘OK this is a true juxtaposition,’” she says. “This is like life and death, and they’re … operating in the same exact space.” \u003c/p>\n\u003cp>That heady swell of emotions changes day by day, and she’s learned to lean into the positive feelings. “This is the deepest sadness I’ve ever felt in my life,” Shaw says, “and I know that will be there forever, but the little bits of joy that I have gotten to experience also feel so fucking good.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dvo2yOFb7k0\u003c/p>\n\u003cp>As a culture, we expect art borne of tragedy to pin the creator in place, for them to define themselves by the death of their loved one. We expect them to continuously perform their grief so the rest of us can get a lurid preview of an anguish we can’t know until it happens to us. It’s the joy that Shaw exudes on the album that makes it so novel.\u003c/p>\n\u003cp>Stalling out in grief isn’t something Haener would want for her, anyway. Staying in one place just wasn’t in his nature. “He’s like the least lazy person on earth,” she says. (She still, occasionally, slips into the present tense when talking about him.) “And that was so inspiring to me.”\u003c/p>\n\u003cp>So Shaw, as she says on the record, “keep[s] on chooglin’,” meeting a future without Joe Haener in it: “I would love to be able to help anyone see that there’s more to life, and your person would not want you to stop.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Moon is in the Wrong Place’ is out May 10, 2024 on Easy Eye Sound. \u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">Find more information about the album here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"‘The Moon Is In The Wrong Place’ arrives two years after the death of Shaw’s fiancé, the musician Joe Haener.","status":"publish","parent":0,"modified":1715623402,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1746},"headData":{"title":"Shannon Shaw’s New Album Channels Great Love and Great Loss | KQED","description":"‘The Moon Is In The Wrong Place’ arrives two years after the death of Shaw’s fiancé, the musician Joe Haener.","ogTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","ogDescription":"","ogImgId":"","twTitle":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","twDescription":"","twImgId":"","socialTitle":"Shannon Shaw’s New Album Channels Great Love and Great Loss %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shannon Shaw’s New Album Channels a Magical Love and a Life-Changing Loss","datePublished":"2024-04-30T22:06:45.000Z","dateModified":"2024-05-13T18:03:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jody Amable","nprStoryId":"kqed-13956541","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>f all the topics covered in our hour-long Zoom call, one of the few that doesn’t make Shannon Shaw cry a little is pro wrestling great Mick “Mankind” Foley.\u003c/p>\n\u003cp>“I was in Detroit at the airport really early in the morning. I was like ‘Oh my God, is that Mankind? Holy shit!’” she says. “I was like, ‘You know what? He is the kind of celeb that I’m going to approach, and hopefully he’s as nice as he seems.’ He was so nice! He asked me if I wanted a photo.”\u003c/p>\n\u003cp>A few years later, she reposted the photo to her Instagram. A subsequent chain of online events led to her and her band, the Clams, going out to lunch with him in Nashville, where they were recording a new album.\u003c/p>\n\u003cp>And that’s how a WWE Hall of Famer ended up contributing hand claps to her new album \u003cem>\u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">The Moon Is In The Wrong Place\u003c/a>\u003c/em>.\u003c/p>\n\u003ch2>A devastating loss\u003c/h2>\n\u003cp>In some ways it’s a fitting coda to the past few years of Shaw’s life, which have been filled with one-in-a-million occurrences that brought her a staggering range of experiences, including a friendship with a pro wrestling legend, a dog she loves and the darkest days of her life. \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>If you’ve been a local rock ‘n’ roll fan in the last 15 years, you have almost definitely heard Shaw’s voice. It may have been in Oakland retro-tinged punk legends Hunx and his Punx, or in her own band, Shannon and the Clams. The distinctive rasp in her singing voice and her striking personal style made her stand out in a crowded field of local indie acts in the 2010s, leading to a solo record on Dan Auerbach’s Easy Eye Sound and large-print appearances with Oakland’s \u003ca href=\"https://www.kqed.org/arts/13951325/mosswood-meltdown-lineup-b-52s-big-freedia\">Mosswood Meltdown festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg\" alt=\"Album cover with floating heads of band members in a starry night design\" width=\"800\" height=\"800\" class=\"size-full wp-image-13956547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/feeBQECu-768x768.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new album from Shannon and the Clams, ‘The Moon Is In The Wrong Place,’ comes out May 10 on Easy Eye Sound. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you’re plugged into that scene, you likely also know the personal devastation that brought us this new record. In 2022, her fiancé Joe Haener — also a Bay Area rock icon, an in-demand drummer who played with bands like The Dodos, Rock N Roll Adventure Kids and his own band Gris Gris — died in a car crash outside his family farm in rural Oregon. The accident happened in front of a bean field that Shaw says “he was probably planning to harvest like within the next week or something.” \u003c/p>\n\u003cp>Haener’s passing stunned the local music community, and fans and friends of the couple paid tribute for weeks after: tribute concerts were arranged in his honor, and artists dedicated albums to him. Acclaimed Oakland taqueria Tacos Oscar put his recipe for beans on the menu. \u003c/p>\n\u003cp>“I really do feel like we have such incredible fans that they’re here for it, you know?” Shaw says of the outpouring of love she received and the anticipation for the new record. “They want to experience the music [on this record] knowing exactly what it’s about. And I just appreciate that so much.”\u003c/p>\n\u003ch2>A love story\n\u003c/h2>\u003cp>Shaw is generally cynical about whether the universe has grand plans for us all — these things tend to come up when you lose someone — but she believes in one notable exception: Joe Haener, and that his existence overlapped with hers at all. “I’m always [doubting myself] like, ‘Yeah you’re probably just looking really hard and making something out of nothing.’ But no,” she says. “There’s too many things.” \u003c/p>\n\u003cp>Their story starts serendipitously at a strip mall in Tualatin, Oregon. In town for a friend’s wedding, she was looking for a dress at a Lane Bryant a few doors down from a Starbucks. It started pouring, so she ducked into the coffee shop to wait out the rain. Haener’s family farm didn’t yet have internet access, so there he was using the wifi to download some shows to take back with him. “Probably the Garry Shandling show. He loved that shit.”\u003c/p>\n\u003cfigure id=\"attachment_13956731\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg\" alt=\"Woman kisses small dog while holding bass guitar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00073-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw and Spanky-Joe in Los Angeles. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’d known Haener previously through the indie music world — and she had a huge, immediate crush on him. “I saw pictures of him and I’m like, ‘Oh my fucking lord. This is like the hunkiest man ever,’” she says, chuckling slightly. “I’m not normally like that, like a —” she makes an “awooga” sound, “but absolutely, Joe Haener, I totally was. Total wolf-[with]-steam-out-of-the-ears.”\u003c/p>\n\u003cp>After he shyly said hello in that Starbucks and asked if she remembered him, she invited him to be her date to the wedding. He had to be at the farm early the next morning, so he declined. They kept in touch, and in 2017 she met up with him after his birthday party – at 2 a.m., the only time they had to meet up while in the same city. Another suspiciously lucky turn of events unfolded: inclement weather canceled his early-morning flight. \u003c/p>\n\u003cp>“That’s [how] we became madly in love, [because] a lightning storm trapped him at my house,” Shaw remembers. “And we just played games and got to know each other and were both trying to pretend to not already be in love.” He proposed in 2020, and she moved to Portland to join him near the farm.\u003c/p>\n\u003ch2>Between sorrow and exuberance\u003c/h2>\n\u003cp>Shaw is calling from Los Angeles, where she moved to be close to friends and her support network. Spanky-Joe the dog is nestled sweetly in her lap. “I feel like he saved my life,” she says of Spanky, her voice breaking just a little. “And I just feel like even though Joe never got to meet him, somehow Joe and him crossed paths on the astral plane. And Joe was like, ‘I’m sending you to go take care of Shannon.’”\u003c/p>\n\u003cp>It’s still hard for her to talk about Haener, and yet, as she’s said on \u003ca href=\"https://www.instagram.com/p/C2OGLvjPYt_/?hl=en&img_index=1\">Instagram\u003c/a> and says on this call, “All I want to do is talk about Joe.” She spent last year doing just that, transferring her grief and confusion over to \u003cem>The Moon Is In The Wrong Place\u003c/em>, which she started writing almost immediately. “I had so much music in my head from the day he died,” she says. “Songs were coming to me.”\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" class=\"size-full wp-image-13956548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon and the Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. The whole band had grown close to Haener before his death. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result revels in the dichotomy of loss. \u003cem>The Moon Is In The Wrong Place\u003c/em> stings like a freshly skinned knee, honest in its depiction of grief to the point of being jarring. But it’s also brimming with a naked joy. It’s a celebration of Haener and the lives he touched during his time here. \u003c/p>\n\u003cp>Opener “The Vow” bludgeons you with that bittersweetness — it’s the song Shaw wrote as a surprise for their wedding. The rest of the Shaw-scribed songs continue in that tone, swinging wildly between sorrow and exuberance. “I’m someone who I think generally can run positive … I just can’t help but see all the extreme, vibrant, beautiful things right next to the really awful realities, you know?” she says.\u003c/p>\n\u003cp>That describes the time she spent in the bean fields, which became a haven for her and the Haener family in the weeks after the accident. “It was such a gnarly scene, you know? There was, like …” she hesitates a moment and her voice quiets. “Burnt flesh and clothing, and all of his personal stuff from his car … but then being surrounded by blossoms … that was like the first time I had been like ‘OK this is a true juxtaposition,’” she says. “This is like life and death, and they’re … operating in the same exact space.” \u003c/p>\n\u003cp>That heady swell of emotions changes day by day, and she’s learned to lean into the positive feelings. “This is the deepest sadness I’ve ever felt in my life,” Shaw says, “and I know that will be there forever, but the little bits of joy that I have gotten to experience also feel so fucking good.”\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/dvo2yOFb7k0'\n title='//www.youtube.com/embed/dvo2yOFb7k0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a culture, we expect art borne of tragedy to pin the creator in place, for them to define themselves by the death of their loved one. We expect them to continuously perform their grief so the rest of us can get a lurid preview of an anguish we can’t know until it happens to us. It’s the joy that Shaw exudes on the album that makes it so novel.\u003c/p>\n\u003cp>Stalling out in grief isn’t something Haener would want for her, anyway. Staying in one place just wasn’t in his nature. “He’s like the least lazy person on earth,” she says. (She still, occasionally, slips into the present tense when talking about him.) “And that was so inspiring to me.”\u003c/p>\n\u003cp>So Shaw, as she says on the record, “keep[s] on chooglin’,” meeting a future without Joe Haener in it: “I would love to be able to help anyone see that there’s more to life, and your person would not want you to stop.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Moon is in the Wrong Place’ is out May 10, 2024 on Easy Eye Sound. \u003ca href=\"https://easyeyesound.com/collections/shannon-the-clams\">Find more information about the album here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place","authors":["byline_arts_13956541"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_2838","arts_3823"],"featImg":"arts_13956732","label":"arts"},"arts_13956554":{"type":"posts","id":"arts_13956554","meta":{"index":"posts_1591205157","site":"arts","id":"13956554","score":null,"sort":[1713993863000]},"guestAuthors":[],"slug":"loco-bloco-mission-district-carnaval-jediah-pratt","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","publishDate":1713993863,"format":"standard","headTitle":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13956328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May.\u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations.\u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’”\u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday.\u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program.\u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.”\u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.”\u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","status":"publish","parent":0,"modified":1715272353,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1122},"headData":{"title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","description":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","datePublished":"2024-04-24T21:24:23.000Z","dateModified":"2024-05-09T16:32:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-drumbeat-of-home-how-loco-bloco-keeps-one-family-tethered-to-the-mission","nprByline":"Binnie Kenvin","nprStoryId":"kqed-13956554","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13956328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May.\u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations.\u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\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>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’”\u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday.\u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program.\u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.”\u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.”\u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","authors":["byline_arts_13956554"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_11615","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1257","arts_822","arts_1146","arts_4533"],"featImg":"arts_13956570","label":"arts"},"arts_13957666":{"type":"posts","id":"arts_13957666","meta":{"index":"posts_1591205157","site":"arts","id":"13957666","score":null,"sort":[1715720422000]},"guestAuthors":[],"slug":"best-boba-shops-bay-area-berkeley-cupertino-sf","title":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","publishDate":1715720422,"format":"standard","headTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat | KQED","labelTerm":{},"content":"\u003cp>We are living in a golden age of boba in the Bay Area. In certain swaths of Berkeley, San Jose and Cupertino, you can find a boba shop literally on every block, and the sheer variety of drinks — from the cheese foam–topped to the nitro-chilled — has never been more robust.\u003c/p>\n\u003cp>Still, any true bubble tea connoisseur will tell you that beverage quality varies wildly from boba shop to boba shop — and, if I can say the quiet part out loud, the vast majority of Bay Area spots are mediocre at best. Unless you \u003ci>like\u003c/i> stale tapioca balls and excruciatingly sweet, watered-down tea made from powder mixes.\u003c/p>\n\u003cp>But listen: Friends don’t let friends drink bad boba. And because I care about you, dear reader, I’ve decided to share my running list of the best the Bay Area has to offer. As the parched, sun-soaked days of summer draw near, these are the spots where I’ll be posting up to quench my thirst.\u003c/p>\n\u003cfigure id=\"attachment_13957737\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg\" alt=\"Two boba drinks on a wooden table.\" width=\"1920\" height=\"1482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1536x1186.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">TP Tea is a good choice for boba drinkers who want to be able to taste the tea. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>TP Tea\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2383 Telegraph Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>Here’s where I’ll remind you that the boba balls themselves are merely a \u003ci>topping\u003c/i>, and an optional one at that. A boba shop serving tea that doesn’t taste good on its own would never survive in Taiwan (or any serious tea-drinking country). And so the highest praise I can give to \u003ca href=\"https://www.instagram.com/tptea.california/\">TP Tea\u003c/a> is that it’s the kind of boba shop where you can order the most basic-sounding tea (say, the “Signature Black Tea”) with minimal (30%) sugar added and no toppings whatsoever — and the drink will taste good as hell. The tea drinks here actually taste like tea, including the elegantly smooth Tie Guan Yin milk tea, a contender for my favorite milk tea in the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s for good reason, then, that TP’s UC Berkeley location is by far the busiest boba shop on a couple-block stretch of Telegraph Avenue packed with six or seven others. (Also, “Taiwan Professional Tea” is the best name for a boba chain, hands down.)\u003c/p>\n\u003ch2>\u003cb>Asha Tea House\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2086 University Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://eastbayexpress.com/two-local-teashops-that-could-make-you-care-about-tea-1/\">As the story goes\u003c/a>, this Berkeley institution opened as a vehicle for evangelizing the pleasures of fine Asian teas, and offered a simple boba menu as just one part of that mission. But the boba drinks were so wildly popular, they quickly overshadowed all of the shop’s higher-end offerings. More than probably any other Bay Area boba shop, the focus at \u003ca href=\"https://www.instagram.com/ashateahouse/?hl=en\">Asha\u003c/a> rests squarely on the quality of the tea itself rather than on any bells and whistles. All of my favorites have been on the menu from day one: the potent, condensed milk–sweetened Hong Kong milk tea, which is delicious hot or cold, with or without boba. Or any of the seasonal fruit teas, which rely on no artificial flavorings. Instead, they’re just pure tea, supplemented with one of Asha’s pulpy housemade fruit purees. When available, the strawberry black tea and the Asian pear oolong are especially elite.\u003c/p>\n\u003cfigure id=\"attachment_13957738\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg\" alt=\"A mango smoothie topped with whipped cream.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi sells standard boba drinks, but its boba-adjacent Thai beverages — like the “Mango Sunset” — are where the Piedmont Avenue shop really shines. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Dek Doi Cafe\u003c/b>\u003c/h2>\n\u003cp>\u003cem>4125 Piedmont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>It’s a testament to the beverage’s mainstream universal appeal these days that this little Thai cafe has a whole section of its menu dedicated to boba, which doesn’t have any traditional roots in Thailand. That said, \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi’s\u003c/a> boba drink selection is fairly basic, so you’d be better off choosing one of its boba-adjacent Thai drinks — like the “Mango Sunset,” which is just an S-tier exemplar of the kind of slushie mango smoothie that many shops sell. This version comes topped with whipped cream and crispy mung beans. Or try Thailand’s famous “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">pink milk\u003c/a>,” or nom chompuu, which is made with red palm fruit syrup and resembles, and vaguely tastes similar to, a retro diner–style strawberry milk with tropical undertones. Note that the drinks here run sweet, but, like at any respectable boba shop, the sweetness level is customizable: For me, 50% was just right.\u003c/p>\n\u003cfigure id=\"attachment_13957746\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg\" alt=\"A creamy boba drink sits on a table in front of a pillow.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crème brûlée milk tea is one of Urban Ritual’s many excellent toppings-forward drinks. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Urban Ritual\u003c/b>\u003c/h2>\n\u003cp>\u003cem>488 Fell St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Just when I got done saying boba isn’t all about all the toppings, here comes a boba shop that is, to a large extent, \u003ci>all about the toppings\u003c/i>. And yet I love it, unreservedly. Actually, the tea at \u003ca href=\"https://www.instagram.com/urbanritualcafe/?hl=en\">Urban Ritual\u003c/a> tastes quite good, and the texture of the boba itself is unimpeachable. But what sets the shop apart is its next-generation approach to creative flavor and topping combinations. The most obvious example is its signature crème brûlée milk tea, which combines black tea, cream, tapioca balls and crème brûlée — both the eggy pudding and the crunchy-smoky torched sugar bits. This is Urban Ritual’s greatest innovation: the way it introduces textures other than the classic “\u003ca href=\"https://www.kqed.org/arts/13897410/taiwanese-food-texture-q-boba-love-boat\">QQ\u003c/a>” chew of the boba.\u003c/p>\n\u003cp>And if you want to tell me that some of these drinks are more of a dessert than a beverage? You would be correct — but who is going to complain as long as they know that going in?\u003c/p>\n\u003cfigure id=\"attachment_13957748\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg\" alt=\"Two boba drinks — one green and fruity, the other one creamy — on a wooden picnic table.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teaspoon’s Corte Madera location might be the best boba option in the North Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Teaspoon\u003c/b>\u003c/h2>\n\u003cp>\u003cem>132 Corte Madera Town Center, Corte Madera\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13915004,arts_13957599']\u003c/span>\u003c/span>Marin County has long been a bit of a boba wasteland, as the big, trendy brands from Taiwan haven’t, to this point, seen the region’s \u003ca href=\"https://www.kqed.org/news/11307601/why-is-marin-county-so-white\">small Asian population\u003c/a> as a worthwhile market. It was a happy day, then, when Teaspoon, one of the more well-regarded local (and now \u003ca href=\"https://order.teaspoonlife.com/\">national\u003c/a>) chains, opened a branch in a Corte Madera shopping plaza. Teaspoon’s offerings tend toward sweet and aesthetically pleasing, with creative flavor combinations that only occasionally veer into stunt beverage territory (there’s a line of Red Bull boba drinks??). They’re also undeniably tasty: The creamy, caramelly Black Sugar Assam is a well-executed take on the black sugar boba trend. And the “Grasshopper,” which combines lychee green tea and fresh cucumber juice, is fun and refreshing — a nod, perhaps, toward the kind of pepino agua fresca you might find at a local taqueria.\u003c/p>\n\u003ch2>\u003cb>Yifang Taiwan Fruit Tea \u003c/b>\u003c/h2>\n\u003cp>\u003cem>34133 Fremont Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>In some ways this may feel like a basic pick: This Taiwanese chain has had a foothold in Northern California for years now, with more than a dozen locations, and it’s been a minute since the brand was super-relevant on the Taipei scene. But what \u003ca href=\"https://www.instagram.com/yifang.cal/?hl=en\">Yifang\u003c/a> still does better than any other Bay Area chain is its fruit-flavored teas — whether it’s pineapple teas (made with housemade pineapple jam), old-school Taiwanese tastes like winter melon tea or lemon aiyu or, best of all, the shop’s signature Yifang Fruit Tea, which comes loaded fresh apple, orange and passion fruit, like a beverage and fruit salad all in one.\u003c/p>\n\u003cp>This is another spot where you’ll want to be careful about the sweetness levels, which vary widely from drink to drink. I’ve ordered the Yifang Fruit Tea at 0% sweetness and still found it to be plenty sweet enough!\u003c/p>\n\u003cfigure id=\"attachment_13957754\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg\" alt=\"Close-up of a man holding two boba drinks using boba totes made of twine.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chicha San Chen’s hallmark is that it brews the tea for each individual boba drink to order. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Chicha San Chen\u003c/b>\u003c/h2>\n\u003cp>\u003cem>20688 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13904913,arts_13929494']\u003c/span>\u003c/span>This one is for the diehards — or at least for tea lovers who have about an hour to kill. The current title holder in the contest for buzziest Bay Area boba shop, \u003ca href=\"https://www.instagram.com/chichasanchen.norcal/?hl=en\">Chicha San Chen\u003c/a> touts its award-winning tea drinks, which are individually brewed to order using the company’s patented, very Third-Wave-esque “teaspresso” machines. Is it all a little bit precious? Sure. But it does make for tasty tea. Word to the wise: If you’re going to go through all the trouble of waiting in line for half an hour (and then \u003ci>another\u003c/i> half hour for them to make your drink), then you’d better be a person who appreciates the flavor of tea for tea’s sake — and you’d be well-advised to order one of the simpler drinks, so the taste of that tea actually shines through. I love the floral, slightly tannic, minimally sweetened honey osmanthus oolong in particular.\u003c/p>\n\u003cp>Bonus points for packaging that’s cute \u003ci>and\u003c/i> convenient: Every cup comes with a disposable \u003ca href=\"https://www.instagram.com/p/C13nPlqLXle/?hl=en\">boba tote\u003c/a> made of twine. But if you want to wait another six months for the hype to die down a bit, I wouldn’t blame you in the least.\u003c/p>\n\u003cfigure id=\"attachment_13957757\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957757\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg\" alt=\"A soy pudding drink with many colorful toppings.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The #8 combination at Soyful desserts is a hybrid of boba, soy pudding and chè. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Soyful Desserts\u003c/b>\u003c/h2>\n\u003cp>\u003cem>999 Story Rd., San Jose\u003c/em>\u003c/p>\n\u003cp>One of the joys of \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">San Jose’s vibrant, colorful drinks scene\u003c/a> is the way that Taiwanese, Chinese and Vietnamese influences have fused together to create their own unique, hybridized thing. \u003ca href=\"https://www.instagram.com/soyfuldesserts/\">Soyful Desserts\u003c/a> is probably the peak example of that synthesis, with its concise menu of Hong Kong-style milk teas, soy pudding drinks and shaved ice–laden Vietnamese chè. As the shop’s name indicates, the star here is the soy pudding (aka tofu pudding), a silky, refreshing treat equally beloved in Hong Kong, Taiwan and Vietnam. To experience this fusion in all its glory, try the #8 soy pudding combination, which comes filled to the brim with ginger syrup–soaked tofu pudding, shaved ice, basil seeds, pandan jelly, grass jelly, sweet red beans and probably a handful of other toppings I’m forgetting.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m well aware that this is a “drink” that’s more solid than liquid — that it, in fact, constitutes a full meal in itself. But that doesn’t make it any less fun or delicious.\u003c/p>\n\n","blocks":[],"excerpt":"Because friends don’t let friends drink bad boba.","status":"publish","parent":0,"modified":1715724893,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1779},"headData":{"title":"The 8 Best Boba Shops in the Bay Area | KQED","description":"Because friends don’t let friends drink bad boba.","ogTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","ogDescription":"","ogImgId":"","twTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","twDescription":"","twImgId":"","socialTitle":"The 8 Best Boba Shops in the Bay Area%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","datePublished":"2024-05-14T21:00:22.000Z","dateModified":"2024-05-14T22:14:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957666","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We are living in a golden age of boba in the Bay Area. In certain swaths of Berkeley, San Jose and Cupertino, you can find a boba shop literally on every block, and the sheer variety of drinks — from the cheese foam–topped to the nitro-chilled — has never been more robust.\u003c/p>\n\u003cp>Still, any true bubble tea connoisseur will tell you that beverage quality varies wildly from boba shop to boba shop — and, if I can say the quiet part out loud, the vast majority of Bay Area spots are mediocre at best. Unless you \u003ci>like\u003c/i> stale tapioca balls and excruciatingly sweet, watered-down tea made from powder mixes.\u003c/p>\n\u003cp>But listen: Friends don’t let friends drink bad boba. And because I care about you, dear reader, I’ve decided to share my running list of the best the Bay Area has to offer. As the parched, sun-soaked days of summer draw near, these are the spots where I’ll be posting up to quench my thirst.\u003c/p>\n\u003cfigure id=\"attachment_13957737\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg\" alt=\"Two boba drinks on a wooden table.\" width=\"1920\" height=\"1482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1536x1186.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">TP Tea is a good choice for boba drinkers who want to be able to taste the tea. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>TP Tea\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2383 Telegraph Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>Here’s where I’ll remind you that the boba balls themselves are merely a \u003ci>topping\u003c/i>, and an optional one at that. A boba shop serving tea that doesn’t taste good on its own would never survive in Taiwan (or any serious tea-drinking country). And so the highest praise I can give to \u003ca href=\"https://www.instagram.com/tptea.california/\">TP Tea\u003c/a> is that it’s the kind of boba shop where you can order the most basic-sounding tea (say, the “Signature Black Tea”) with minimal (30%) sugar added and no toppings whatsoever — and the drink will taste good as hell. The tea drinks here actually taste like tea, including the elegantly smooth Tie Guan Yin milk tea, a contender for my favorite milk tea in the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s for good reason, then, that TP’s UC Berkeley location is by far the busiest boba shop on a couple-block stretch of Telegraph Avenue packed with six or seven others. (Also, “Taiwan Professional Tea” is the best name for a boba chain, hands down.)\u003c/p>\n\u003ch2>\u003cb>Asha Tea House\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2086 University Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://eastbayexpress.com/two-local-teashops-that-could-make-you-care-about-tea-1/\">As the story goes\u003c/a>, this Berkeley institution opened as a vehicle for evangelizing the pleasures of fine Asian teas, and offered a simple boba menu as just one part of that mission. But the boba drinks were so wildly popular, they quickly overshadowed all of the shop’s higher-end offerings. More than probably any other Bay Area boba shop, the focus at \u003ca href=\"https://www.instagram.com/ashateahouse/?hl=en\">Asha\u003c/a> rests squarely on the quality of the tea itself rather than on any bells and whistles. All of my favorites have been on the menu from day one: the potent, condensed milk–sweetened Hong Kong milk tea, which is delicious hot or cold, with or without boba. Or any of the seasonal fruit teas, which rely on no artificial flavorings. Instead, they’re just pure tea, supplemented with one of Asha’s pulpy housemade fruit purees. When available, the strawberry black tea and the Asian pear oolong are especially elite.\u003c/p>\n\u003cfigure id=\"attachment_13957738\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg\" alt=\"A mango smoothie topped with whipped cream.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi sells standard boba drinks, but its boba-adjacent Thai beverages — like the “Mango Sunset” — are where the Piedmont Avenue shop really shines. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Dek Doi Cafe\u003c/b>\u003c/h2>\n\u003cp>\u003cem>4125 Piedmont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>It’s a testament to the beverage’s mainstream universal appeal these days that this little Thai cafe has a whole section of its menu dedicated to boba, which doesn’t have any traditional roots in Thailand. That said, \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi’s\u003c/a> boba drink selection is fairly basic, so you’d be better off choosing one of its boba-adjacent Thai drinks — like the “Mango Sunset,” which is just an S-tier exemplar of the kind of slushie mango smoothie that many shops sell. This version comes topped with whipped cream and crispy mung beans. Or try Thailand’s famous “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">pink milk\u003c/a>,” or nom chompuu, which is made with red palm fruit syrup and resembles, and vaguely tastes similar to, a retro diner–style strawberry milk with tropical undertones. Note that the drinks here run sweet, but, like at any respectable boba shop, the sweetness level is customizable: For me, 50% was just right.\u003c/p>\n\u003cfigure id=\"attachment_13957746\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg\" alt=\"A creamy boba drink sits on a table in front of a pillow.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crème brûlée milk tea is one of Urban Ritual’s many excellent toppings-forward drinks. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Urban Ritual\u003c/b>\u003c/h2>\n\u003cp>\u003cem>488 Fell St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Just when I got done saying boba isn’t all about all the toppings, here comes a boba shop that is, to a large extent, \u003ci>all about the toppings\u003c/i>. And yet I love it, unreservedly. Actually, the tea at \u003ca href=\"https://www.instagram.com/urbanritualcafe/?hl=en\">Urban Ritual\u003c/a> tastes quite good, and the texture of the boba itself is unimpeachable. But what sets the shop apart is its next-generation approach to creative flavor and topping combinations. The most obvious example is its signature crème brûlée milk tea, which combines black tea, cream, tapioca balls and crème brûlée — both the eggy pudding and the crunchy-smoky torched sugar bits. This is Urban Ritual’s greatest innovation: the way it introduces textures other than the classic “\u003ca href=\"https://www.kqed.org/arts/13897410/taiwanese-food-texture-q-boba-love-boat\">QQ\u003c/a>” chew of the boba.\u003c/p>\n\u003cp>And if you want to tell me that some of these drinks are more of a dessert than a beverage? You would be correct — but who is going to complain as long as they know that going in?\u003c/p>\n\u003cfigure id=\"attachment_13957748\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg\" alt=\"Two boba drinks — one green and fruity, the other one creamy — on a wooden picnic table.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teaspoon’s Corte Madera location might be the best boba option in the North Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Teaspoon\u003c/b>\u003c/h2>\n\u003cp>\u003cem>132 Corte Madera Town Center, Corte Madera\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915004,arts_13957599","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Marin County has long been a bit of a boba wasteland, as the big, trendy brands from Taiwan haven’t, to this point, seen the region’s \u003ca href=\"https://www.kqed.org/news/11307601/why-is-marin-county-so-white\">small Asian population\u003c/a> as a worthwhile market. It was a happy day, then, when Teaspoon, one of the more well-regarded local (and now \u003ca href=\"https://order.teaspoonlife.com/\">national\u003c/a>) chains, opened a branch in a Corte Madera shopping plaza. Teaspoon’s offerings tend toward sweet and aesthetically pleasing, with creative flavor combinations that only occasionally veer into stunt beverage territory (there’s a line of Red Bull boba drinks??). They’re also undeniably tasty: The creamy, caramelly Black Sugar Assam is a well-executed take on the black sugar boba trend. And the “Grasshopper,” which combines lychee green tea and fresh cucumber juice, is fun and refreshing — a nod, perhaps, toward the kind of pepino agua fresca you might find at a local taqueria.\u003c/p>\n\u003ch2>\u003cb>Yifang Taiwan Fruit Tea \u003c/b>\u003c/h2>\n\u003cp>\u003cem>34133 Fremont Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>In some ways this may feel like a basic pick: This Taiwanese chain has had a foothold in Northern California for years now, with more than a dozen locations, and it’s been a minute since the brand was super-relevant on the Taipei scene. But what \u003ca href=\"https://www.instagram.com/yifang.cal/?hl=en\">Yifang\u003c/a> still does better than any other Bay Area chain is its fruit-flavored teas — whether it’s pineapple teas (made with housemade pineapple jam), old-school Taiwanese tastes like winter melon tea or lemon aiyu or, best of all, the shop’s signature Yifang Fruit Tea, which comes loaded fresh apple, orange and passion fruit, like a beverage and fruit salad all in one.\u003c/p>\n\u003cp>This is another spot where you’ll want to be careful about the sweetness levels, which vary widely from drink to drink. I’ve ordered the Yifang Fruit Tea at 0% sweetness and still found it to be plenty sweet enough!\u003c/p>\n\u003cfigure id=\"attachment_13957754\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg\" alt=\"Close-up of a man holding two boba drinks using boba totes made of twine.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chicha San Chen’s hallmark is that it brews the tea for each individual boba drink to order. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Chicha San Chen\u003c/b>\u003c/h2>\n\u003cp>\u003cem>20688 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904913,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>This one is for the diehards — or at least for tea lovers who have about an hour to kill. The current title holder in the contest for buzziest Bay Area boba shop, \u003ca href=\"https://www.instagram.com/chichasanchen.norcal/?hl=en\">Chicha San Chen\u003c/a> touts its award-winning tea drinks, which are individually brewed to order using the company’s patented, very Third-Wave-esque “teaspresso” machines. Is it all a little bit precious? Sure. But it does make for tasty tea. Word to the wise: If you’re going to go through all the trouble of waiting in line for half an hour (and then \u003ci>another\u003c/i> half hour for them to make your drink), then you’d better be a person who appreciates the flavor of tea for tea’s sake — and you’d be well-advised to order one of the simpler drinks, so the taste of that tea actually shines through. I love the floral, slightly tannic, minimally sweetened honey osmanthus oolong in particular.\u003c/p>\n\u003cp>Bonus points for packaging that’s cute \u003ci>and\u003c/i> convenient: Every cup comes with a disposable \u003ca href=\"https://www.instagram.com/p/C13nPlqLXle/?hl=en\">boba tote\u003c/a> made of twine. But if you want to wait another six months for the hype to die down a bit, I wouldn’t blame you in the least.\u003c/p>\n\u003cfigure id=\"attachment_13957757\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957757\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg\" alt=\"A soy pudding drink with many colorful toppings.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The #8 combination at Soyful desserts is a hybrid of boba, soy pudding and chè. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Soyful Desserts\u003c/b>\u003c/h2>\n\u003cp>\u003cem>999 Story Rd., San Jose\u003c/em>\u003c/p>\n\u003cp>One of the joys of \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">San Jose’s vibrant, colorful drinks scene\u003c/a> is the way that Taiwanese, Chinese and Vietnamese influences have fused together to create their own unique, hybridized thing. \u003ca href=\"https://www.instagram.com/soyfuldesserts/\">Soyful Desserts\u003c/a> is probably the peak example of that synthesis, with its concise menu of Hong Kong-style milk teas, soy pudding drinks and shaved ice–laden Vietnamese chè. As the shop’s name indicates, the star here is the soy pudding (aka tofu pudding), a silky, refreshing treat equally beloved in Hong Kong, Taiwan and Vietnam. To experience this fusion in all its glory, try the #8 soy pudding combination, which comes filled to the brim with ginger syrup–soaked tofu pudding, shaved ice, basil seeds, pandan jelly, grass jelly, sweet red beans and probably a handful of other toppings I’m forgetting.\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’m well aware that this is a “drink” that’s more solid than liquid — that it, in fact, constitutes a full meal in itself. But that doesn’t make it any less fun or delicious.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf","authors":["11743"],"categories":["arts_1","arts_12276"],"tags":["arts_1270","arts_14423","arts_6902","arts_10278","arts_1297","arts_1084","arts_22150","arts_22140"],"featImg":"arts_13957736","label":"source_arts_13957666"},"food_1337599":{"type":"posts","id":"food_1337599","meta":{"index":"posts_1591205157","site":"food","id":"1337599","score":null,"sort":[1715643778000]},"guestAuthors":[],"slug":"rocky-road-ice-cream","title":"The Chilling History of Ice Cream","publishDate":1715643778,"format":"video","headTitle":"The Chilling History of Ice Cream | KQED","labelTerm":{},"content":"\u003cp>Uncover the sweet saga behind Rocky Road ice cream. We dive into this iconic treat’s roots and discover how the tumultuous 1920s, Prohibition, and World War II all played a pivotal role in transforming ice cream into the ultimate American comfort food. From humble beginnings to becoming a nationwide sensation, explore how Rocky Road became not just a flavor, but a symbol of resilience and indulgence in the face of adversity.\u003c/p>\n\u003cp>Thank you to Juliet Pries, owner of \u003ca href=\"https://www.theicecreambarsf.com/\" target=\"_blank\" rel=\"noopener\">The Ice Cream Bar\u003c/a>, for sharing her rocky road ice cream with marshmallow fluff.\u003c/p>\n\u003cp>Subscribe to \u003ca href=\"https://www.youtube.com/@KQEDFood\" target=\"_blank\" rel=\"noopener\">KQED Food’s YouTube channel\u003c/a> to watch more Beyond The Menu videos.\u003c/p>\n\u003cp>Read more:\u003cbr>\n\u003ca href=\"https://qz.com/quartzy/1376713/who-invented-rocky-road-ice-cream-its-complicated\" target=\"_blank\" rel=\"noopener\">Who Invented Rocky Road ice cream? It’s complicated.\u003c/a>\u003cbr>\n\u003ca href=\"https://www.theatlantic.com/health/archive/2017/08/ice-cream-military/535980/\" target=\"_blank\" rel=\"noopener\">How Ice Cream Helped America at War\u003c/a>\u003cbr>\n\u003ca href=\"https://www.loc.gov/resource/mtj1.056_0146_0146/\" target=\"_blank\" rel=\"noopener\">Thomas Jefferson’s Original Ice Cream Recipe\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>About Beyond The Menu:\u003c/strong>\u003cbr>\nThe story of the food on your plate is more than just the recipe. Each ingredient and every cooking technique goes back hundreds if not thousands of years, traversing the globe on a wildly delicious cross-cultural adventure. In KQED’s new digital food series Beyond The Menu, host Cecilia Phillips interviews chefs, authors, and other experts to dig up surprising facts on the cultural pathways of today’s trendiest dishes. It’s a history show, it’s a mystery series, it’s a celebration of multicultural cuisine, sometimes it’s even a science program, all set against the backdrop of mouth-watering food cinematography.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1715707072,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":253},"headData":{"title":"The Chilling History of Ice Cream | KQED","description":"Uncover the sweet saga behind Rocky Road ice cream. We dive into this iconic treat’s roots and discover how the tumultuous 1920s, Prohibition, and World War II all played a pivotal role in transforming ice cream into the ultimate American comfort food. From humble beginnings to becoming a nationwide sensation, explore how Rocky Road became not just a flavor, but a symbol of resilience and indulgence in the face of adversity. Thank you to Juliet Pries, owner of The Ice Cream Bar, for sharing her rocky road ice cream with marshmallow fluff. Subscribe to KQED Food’s YouTube channel to watch","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Chilling History of Ice Cream","datePublished":"2024-05-13T23:42:58.000Z","dateModified":"2024-05-14T17:17:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/We53t1xfCSU?si=g9xTxquLDrbUujd9","source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Myles Bess","subhead":"The delicious origins of Rocky Road ice cream involve The Great Depression and Prohibition.","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/food/1337599/rocky-road-ice-cream","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Uncover the sweet saga behind Rocky Road ice cream. We dive into this iconic treat’s roots and discover how the tumultuous 1920s, Prohibition, and World War II all played a pivotal role in transforming ice cream into the ultimate American comfort food. From humble beginnings to becoming a nationwide sensation, explore how Rocky Road became not just a flavor, but a symbol of resilience and indulgence in the face of adversity.\u003c/p>\n\u003cp>Thank you to Juliet Pries, owner of \u003ca href=\"https://www.theicecreambarsf.com/\" target=\"_blank\" rel=\"noopener\">The Ice Cream Bar\u003c/a>, for sharing her rocky road ice cream with marshmallow fluff.\u003c/p>\n\u003cp>Subscribe to \u003ca href=\"https://www.youtube.com/@KQEDFood\" target=\"_blank\" rel=\"noopener\">KQED Food’s YouTube channel\u003c/a> to watch more Beyond The Menu videos.\u003c/p>\n\u003cp>Read more:\u003cbr>\n\u003ca href=\"https://qz.com/quartzy/1376713/who-invented-rocky-road-ice-cream-its-complicated\" target=\"_blank\" rel=\"noopener\">Who Invented Rocky Road ice cream? It’s complicated.\u003c/a>\u003cbr>\n\u003ca href=\"https://www.theatlantic.com/health/archive/2017/08/ice-cream-military/535980/\" target=\"_blank\" rel=\"noopener\">How Ice Cream Helped America at War\u003c/a>\u003cbr>\n\u003ca href=\"https://www.loc.gov/resource/mtj1.056_0146_0146/\" target=\"_blank\" rel=\"noopener\">Thomas Jefferson’s Original Ice Cream Recipe\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>About Beyond The Menu:\u003c/strong>\u003cbr>\nThe story of the food on your plate is more than just the recipe. Each ingredient and every cooking technique goes back hundreds if not thousands of years, traversing the globe on a wildly delicious cross-cultural adventure. In KQED’s new digital food series Beyond The Menu, host Cecilia Phillips interviews chefs, authors, and other experts to dig up surprising facts on the cultural pathways of today’s trendiest dishes. It’s a history show, it’s a mystery series, it’s a celebration of multicultural cuisine, sometimes it’s even a science program, all set against the backdrop of mouth-watering food cinematography.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/food/1337599/rocky-road-ice-cream","authors":["byline_food_1337599"],"series":["food_311"],"categories":["food_1"],"tags":["food_114","food_313","food_312","food_328","food_176"],"featImg":"food_1337603","label":"source_food_1337599"},"arts_13955802":{"type":"posts","id":"arts_13955802","meta":{"index":"posts_1591205157","site":"arts","id":"13955802","score":null,"sort":[1713390752000]},"guestAuthors":[],"slug":"bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","title":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","publishDate":1713390752,"format":"standard","headTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics) | KQED","labelTerm":{},"content":"\u003cp>[dropcap]W[/dropcap]hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13934248']\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479']\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","status":"publish","parent":0,"modified":1713412777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":2211},"headData":{"title":"Bay Area Rappers and Food Lyrics | KQED","description":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","ogTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","ogDescription":"","ogImgId":"","twTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","twDescription":"","twImgId":"","socialTitle":"Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","datePublished":"2024-04-17T21:52:32.000Z","dateModified":"2024-04-18T03:59:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907726,arts_13934248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938479","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","authors":["11748"],"categories":["arts_1","arts_12276","arts_69"],"tags":["arts_21883","arts_5397","arts_1601","arts_10278","arts_1297","arts_3771","arts_831","arts_21738","arts_1558","arts_9337","arts_1143","arts_1803","arts_1146","arts_19942","arts_19347","arts_3478","arts_3800"],"featImg":"arts_13956152","label":"source_arts_13955802"},"arts_13952260":{"type":"posts","id":"arts_13952260","meta":{"index":"posts_1591205157","site":"arts","id":"13952260","score":null,"sort":[1707929631000]},"guestAuthors":[],"slug":"turntablism-invisibl-skratch-piklz-legacy-impact","title":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz","publishDate":1707929631,"format":"aside","headTitle":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ","status":"publish","parent":0,"modified":1708071864,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":46,"wordCount":3685},"headData":{"title":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED","description":"The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz","datePublished":"2024-02-14T16:53:51.000Z","dateModified":"2024-02-16T08:24:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952260/turntablism-invisibl-skratch-piklz-legacy-impact","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952260/turntablism-invisibl-skratch-piklz-legacy-impact","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_2854","arts_21712","arts_2852","arts_17218","arts_21940","arts_1146","arts_19347","arts_21711"],"featImg":"arts_13952262","label":"source_arts_13952260"},"arts_13952208":{"type":"posts","id":"arts_13952208","meta":{"index":"posts_1591205157","site":"arts","id":"13952208","score":null,"sort":[1707929580000]},"guestAuthors":[],"slug":"invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","title":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map","publishDate":1707929580,"format":"standard","headTitle":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>[pullquote size='large' align='center' citation='DJ Apollo']I got the bass kick and he grabbed the snare and we just started making a beat like, boom, cha, boom boom boom cha, boom boom, you know? And then we’re just like, ‘Oh, snap, what did we just do?” [/pullquote] \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\u003c/p>\n\u003cp>[aside postID='arts_13937489']Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"A comprehensive history of the pioneering DJ crew, from Daly City garage parties to world domination.","status":"publish","parent":0,"modified":1708071724,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":121,"wordCount":8314},"headData":{"title":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map | KQED","description":"A comprehensive history of the pioneering DJ crew, from Daly City garage parties to world domination.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How The Invisibl Skratch Piklz Put San Francisco Turntablism on the DJ Map","datePublished":"2024-02-14T16:53:00.000Z","dateModified":"2024-02-16T08:22:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On a recent Friday night in San Francisco, a couple thousand fans of DJ culture crammed into the cavernous main room of a nightclub in Hunters Point.\u003c/p>\n\u003cp>Inside The Midway, it was elbow room-only from the stage to the back patio; many of those in the crowd were DJs themselves. The scene recalled the late ’90s-early 2000s glory days of the Bay Area, when turntablism seemed destined to become the Next Big Thing, and DJ nights dominated SF’s club scene. No one was there to dance; it wasn’t that kind of party.\u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was the DMC World Championship DJ Battle Finals, with some of the best DJs in the world competing against each other. But there was another attraction too: live showcases by the Invisibl Skratch Piklz and Mix Master Mike, the legendary DJs who transformed the Bay Area into a turntablist Mecca during a seminal era for local hip-hop. DMC event organizer Christie Zee put the proceedings into their proper context: “You can’t have a battle in the Bay without the Skratch Piklz.”\u003c/p>\n\u003cp>As midnight approached, the lights dimmed, and the Piklz – Qbert, Shortkut and D-Styles – were announced to cheers that echoed throughout the high-ceilinged room. The Piklz opened with the 2015 ISP track “Fresh Out of FVCKs,” with its ominous electric organ melody that transitions into repeating melodic chords. A snare drum beat came in, followed by a rhythmically scratched snippet of a stuttering vocal phrase. The electric organ chords shifted into a chopped melody as the snare dropped out, then returned. And that’s all before the mind-bending scratch solos that followed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Piklz proceeded to display their musicality, keeping their technical acumen within the groove pocket with synchronized timing. As is customary with the Piklz, each played the part of a specific instrumentalist: D-Styles as the keyboardist, Shortkut as the drummer, and Qbert as the scratch soloist.\u003c/p>\n\u003cfigure id=\"attachment_13952244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM_DJ_mixer_PhotobyJeffStrawBranding-2275-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A live version of “Death By A Thousand Paper Cuts” – a song from D-Styles’ 2019 album \u003cem>Noises In the Right Order\u003c/em> – and several unreleased ISP songs showed that \u003ca href=\"https://ccnmtl.columbia.edu/projects/jazzglossary/g/ghost_note.html\">ghost notes\u003c/a> aren’t just associated with jazz music. The turntable trio used the spaces between to impart a sense of presence and feel, a minimalist approach that allowed their scratches, cuts and juggles to resonate with maximum impact.\u003c/p>\n\u003cp>This would have been a hard act to follow for anyone but Mix Master Mike. The ISP co-founder, who’s been a solo artist since 1995 or so, has a gigantic stage presence and skills to match. A one-man musical blender, MMM unleashed a maelstrom of sonic fury, with bone-crunching drums, an entire range of musical and vocal phrases, and precise turntable cuts that deconstructed the individual pieces of a live performance — only to reconstruct all the fragments into an emotionally-thrilling pastiche. After his set, when Mike was celebrated with a Lifetime Achievement Award, the honor was clearly well-deserved.\u003c/p>\n\u003cp>The Invisible Skratch Piklz were celebrating, too – 2023 marks their 30th anniversary – and it’s safe to say no Bay Area crew has done more to advance the DJ artform. Along with New York’s X-Ecutioners and LA’s Beat Junkies, ISP have defined the term turntablist, carving out a cultural niche that rests on a hip-hop foundation but exists in its own space.\u003c/p>\n\u003cfigure id=\"attachment_13937759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg\" alt=\"People stand in a crowd leaning on a barrier indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd watches finalists compete during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Piklz have counted many firsts. As hip-hop’s relationship with the DJ has flipped from essential to inconsequential, they’ve maintained the DJ tradition for future generations, and extended its global reach. Over the past four decades, they’ve gone from students of the scratch to wizened masters of turntable music.\u003c/p>\n\u003cp>And like most cultural icons, their backstory is involved, multilayered and fascinating.\u003c/p>\n\u003cfigure id=\"attachment_13952236\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg\" alt=\"\" width=\"1528\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/q.sta_-768x519.jpg 768w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">A young Qbert at a community hall mobile DJ dance party. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Garage Party Era\u003c/h2>\n\u003cp>The Invisibl Skratch Piklz story begins in what former ISP manager Alex Aquino calls the “pre-hip-hop era” of the late ’70s-early ’80s, when youth-oriented street dance intersected with pioneering mobile DJ crews and a Filipino-American tradition of garage parties.\u003c/p>\n\u003cp>“This was before breakdancing,” Aquino says. He recalls being 6 or 7 and seeing strutters, poppers and elements of DJ culture – including the Filipino mobile DJ crews who established a scene built around vinyl records, large stereo systems and frequent dance parties.\u003c/p>\n\u003cp>One of those Filipino DJs was Apollo Novicio, a.k.a. DJ Apollo, a founding member of ISP who spent his early childhood roaming around the Mission District. By the time he reached middle school, his family had relocated to Daly City – where he likely attended some of the same parties as Aquino. “Back in the day, they’d have garage parties and there would be a DJ in the corner of the garage, set up on a washing machine and dryer and stuff like that. And at the parties, they would have popping and locking circles. Strutting, popping and locking. Breakdancing wasn’t even here yet, really. This was, I’d say, early ’80s, and that was pretty much my first exposure to the DJing and dancing element of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952292\" class=\"wp-caption aligncenter\" style=\"max-width: 1004px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png\" alt=\"\" width=\"1004\" height=\"674\" class=\"size-full wp-image-13952292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty.png 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobiledjparty-768x516.png 768w\" sizes=\"(max-width: 1004px) 100vw, 1004px\">\u003cfigcaption class=\"wp-caption-text\">Setup for a typical mobile DJ party in the early 1990s. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, Aquino remembers, a New York transplant named Oscar Sop had introduced B-boying and fat laces to the neighborhood, becoming one of the Bay Area’s first breakdancers. Meanwhile, the DJ crews were becoming more professional, and getting hired for weddings, quinceaneras, traditional Filipino celebrations and the occasional school dance party.\u003c/p>\n\u003cp>Apollo recalls “doing the strutting, popping, locking thing before B-boying got here.” Back then, “I didn’t even know it was hip-hop. I was such a young age. I’m like, just doing it and like, later on find out, oh, this is a hip-hop culture.”\u003c/p>\n\u003cp>In addition to dancing being popular among Filipino youth, he remembers DJ groups proliferating at local high schools. “It was just kind of like the thing to do,” he says. “All the kids would form DJ groups.”\u003c/p>\n\u003cp>“I don’t know how to explain (why), but there was a lot of Filipino mobile disc jockey groups,” says DJ Apollo. ”Back in the seventies, my older brothers and sisters, they used to collect music and listen to music. Everybody had to go to the record store and buy vinyl.”\u003c/p>\n\u003cfigure id=\"attachment_13952212\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg\" alt=\"\" width=\"1030\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.mobileDJparty-768x580.jpg 768w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">A mobile DJ party in 1991. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Oliver Wang, author of \u003cem>\u003ca href=\"https://www.dukeupress.edu/legions-of-boom\">Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area\u003c/a>\u003c/em> and a professor of sociology at CSU Long Beach, explains that “the mobile DJ scene that the Piklz’ members got their start in wasn’t an exclusively Filipino phenomenon at all; there were Black, White, Latino and Chinese crews around then too. But the Fil-Am scene flourished above and beyond those other groups because they had distinct advantages coming from an immigrant community with strong social ties and large social networks.”\u003c/p>\n\u003cp>In addition, Wang says, “Filipino American families have parties for practically any occasion — birthdays, debuts, christenings, graduations, or just plain house/garage parties for the heck of it. Importantly, those parties all wanted music, and that meant that DJs had all these opportunities to find gigs.”\u003c/p>\n\u003cp>By the time breakdancing became popularized through movies like \u003cem>Beat Street\u003c/em> and \u003cem>Breakin’,\u003c/em> Apollo says, “DJing was already here… there were dances every weekend, and DJ battles and showcases almost every other weekend. That’s how it was when I was growing up around the San Francisco and Daly City area in the early ’80s.”\u003c/p>\n\u003cfigure id=\"attachment_13952219\" class=\"wp-caption aligncenter\" style=\"max-width: 1163px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg\" alt=\"\" width=\"1163\" height=\"831\" class=\"size-full wp-image-13952219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/rscdjs-768x549.jpg 768w\" sizes=\"(max-width: 1163px) 100vw, 1163px\">\u003cfigcaption class=\"wp-caption-text\">Appearing as FM2O (Furious Minds 2 Observe), Qbert, Mix Master Mike and Apollo perform at an ‘eco-rap’ show in San Francisco, circa 1989–1990. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the top mobile DJ crews at that time was Unlimited Sounds. “They were like the biggest group from Daly City, and they were already established,” Apollo says. Many of the crew members were older and attended Jefferson High School. Apollo remembers hanging out at Serra Bowl, becoming friends with Unlimited Sounds and gradually being drawn into the world of DJing.\u003c/p>\n\u003cp>“Every day after school, I would just hang out at their garage and practice,” he says. “All the equipment was there, the records were all there, the lights, everything.”\u003c/p>\n\u003cp>Apollo saved his allowance and lunch money to buy his first set of turntables, and formed makeshift DJ crews with his friends. “We would gather our parents’ equipment, like home stereo equipment and gather it all up. I would get my parents’ home stereo system combined with my homies’ parents’ stereo system, combined with my other homie’s house system. And then we would put all the equipment together and we saw we had a DJ group.”\u003c/p>\n\u003cp>Apollo started making mixtapes — he still remembers the first time he had enough records to make an all-hip-hop tape — and eventually became good enough to join Unlimited Sounds in 1985, who at the time had gigs all over the Bay Area. That experience gave him a solid foundation in DJing parties and playing a wide variety of records, but he was more interested in “scratching, juggling, trick-mixing — turntablism before it was even called that.”\u003c/p>\n\u003cfigure id=\"attachment_13952233\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg\" alt=\"\" width=\"600\" height=\"401\" class=\"size-full wp-image-13952233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RSC-DJs-Psycho-City-Cover-160x107.jpeg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Rock City DJs at the famed San Francisco graffiti spot Psycho City, January 1993. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to joining Unlimited Sounds, Apollo had hooked up with another up-and-coming DJ who was becoming known for his pause-tape mixes and obsessive focus on scratching: Michael Anthony Schwartz, a.k.a. Mix Master Mike, a Filipino-German kid who attended Jeffferson, the same high school as Aquino and Apollo. Rather than practice the blends and beat-matching typically used at parties, though, Apollo and Mix Master Mike would “do more scratching or tricks, routines and that type of stuff.”\u003c/p>\n\u003cp>With those bedroom routines, a reimagining of the turntable’s possibilities had begun.\u003c/p>\n\u003ch2>‘Oh, Snap — What Did We Just Do?’\u003c/h2>\n\u003cp>Mix Master Mike didn’t come up in the mobile DJ scene. His early inspiration was seeing Run-DMC’s Jam Master Jay live.\u003c/p>\n\u003cp>Watching Jay DJ for DMC and Run, he says, he remembers thinking, “Oh, they’re using records, but they sound more like they’re a full-fledged band, you know? That was just profound to me, that he was using records and rocking the house, \u003cem>with just records\u003c/em>. And that’s when I immediately knew that’s what I wanted to be.”\u003c/p>\n\u003cfigure id=\"attachment_13952222\" class=\"wp-caption aligncenter\" style=\"max-width: 1732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg\" alt=\"\" width=\"1732\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway.jpg 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMM_.japan_.subway-1536x1044.jpg 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike on the subway in Japan, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after Run-DMC brought their Raising Hell tour to a sold-out Oakland Coliseum arena, Apollo and Mike formed an informal DJ crew called Together With Style (not to be confused with the SF graffiti crew of the same name) and held long practice sessions in Apollo’s garage.\u003c/p>\n\u003cp>But with Mike, “we did go hard on scratching and tricks and juggling – which later on turned into turntablism.”\u003c/p>\n\u003cp>Individually, they would take turns on Apollo’s set of turntables. But one day, they decided to work in tandem — a moment that altered the course of DJ history.\u003c/p>\n\u003cp>As Apollo remembers it: “Me and Mike were messing around with the turntables and… we’re like, well, let’s just do something together, since we don’t have to wait our turn (to practice). So I grabbed one turntable, and he grabbed the other turntable and we kind of just started making a beat with two records and one mixer. I got the bass kick and he grabbed the snare and we just started making a beat like, \u003cem>boom, cha, boom boom boom cha, boom boom\u003c/em>, you know? And then we’re just like, ‘Oh, snap, what did we just do? That was crazy.’”\u003c/p>\n\u003cfigure id=\"attachment_13952218\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg\" alt=\"\" width=\"604\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/10423_136960922731_697132731_2526758_2429020_n-160x108.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The Rock Steady Crew DJs in 1991. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo and Mike would perfect the two-man routine over a period of several years, “and we just started performing it all over the place at showcases and dances, you know, wherever. People were seeing it and being amazed. We were amazed by it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"I got the bass kick and he grabbed the snare and we just started making a beat like, boom, cha, boom boom boom cha, boom boom, you know? And then we’re just like, ‘Oh, snap, what did we just do?” ","name":"pullquote","attributes":{"named":{"size":"large","align":"center","citation":"DJ Apollo","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>One witness to the early routine was Richard Quitevis, an acquaintance of Mike and Apollo who went by the name DJ Qbert.\u003c/p>\n\u003cp>“Qbert saw it one time and he was amazed by it. He’s like, \u003cem>Oh, what is that?!?\u003c/em>,” Apollo says.\u003c/p>\n\u003ch2>Qbert Enters the Picture\u003c/h2>\n\u003cp>DJ Qbert grew up in San Francisco’s Excelsior district. Like Apollo, his first exposure to hip-hop precedes the term itself. He recalls fishing at Pier 39 at the age of 12 and seeing the Fillmore dance crew \u003ca href=\"https://www.youtube.com/watch?v=weKkAF9NdCI\">Demons of the Mind\u003c/a>. “There would be all these poppers; at the time they were called strutters. They would be playing this really fast electro music. And it was like, ‘Look at these robot-like guys in shiny little outfits with these silver hats.”\u003c/p>\n\u003cp>Qbert was fascinated not only with the vibrant dancers, but the sounds. “I was like, ‘Man, this is crazy. I love it, but where are they getting this music from?’”\u003c/p>\n\u003cfigure id=\"attachment_13952215\" class=\"wp-caption aligncenter\" style=\"max-width: 1371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg\" alt=\"\" width=\"1371\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna.jpg 1371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-bologna-768x551.jpg 768w\" sizes=\"(max-width: 1371px) 100vw, 1371px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, Mix Master Mike and Qbert gettin’ up in Bologna, Italy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qbert remembers early attempts at breakdancing with his friends, who fashioned their own makeshift outfits. But it was the DJ scratch – particularly the skills displayed by Mix Master Ice on UTFO’s 1985 single “\u003ca href=\"https://www.youtube.com/watch?v=0KE3-IyLsg8\">Leader of the Pack\u003c/a>” – that really drew his interest. “I just started collecting the music, always collecting the music. And that’s what made me become a DJ.”\u003c/p>\n\u003cp>One day, Qbert was asked to DJ a garage party. “Everybody was about 12, 13, 14, 15, and everybody was breaking in the garage. And we were playing all my records on a big-ass giant box. Like, you open the top and you put the record in, and you just let that play. And the kids were spinning and they couldn’t control themselves. They would spin and they would spin, right into the DJ box, the turntable box. That was my first time being a mobile DJ.”\u003c/p>\n\u003cp>He explains his early attraction to turntables and scratching: “You could manipulate sound by grabbing (the record), moving forward and backward,” he says, imitating a scratch sound. “It was like a toy. A toy that was like a musical instrument. I didn’t even know it was a musical instrument. I was just thinking of it as like, it just sounds crazy. You just pull sound out of the air and move it, like, ‘Oh, what a weird contraption.’”\u003c/p>\n\u003cp>Eventually, Q joined a mobile DJ crew called Live Style Productions, and came to the attention of Apollo and Mix Master Mike, who remember going to Balboa High School to see him spin.\u003c/p>\n\u003cp>“Q, we just knew from around the way,” Apollo says. “We would go to different showcases on the weekends and see him perform. And so we knew about Q.”\u003c/p>\n\u003cfigure id=\"attachment_13952240\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg\" alt=\"\" width=\"600\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/600_us_champ_trophy-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with the U.S. Championship trophy. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1991, Qbert entered the DMCs, winning the U.S. Championships and advancing all the way to the World Finals in London, where he took 2nd place. Aquino claims Qbert’s technical skills were so advanced, they went over most of the audience’s heads, but Qbert admits he got cocky and didn’t practice before his set: “I was sloppy,” he says. That loss instilled in him the importance of practicing, which he took to with rigorous discipline.\u003c/p>\n\u003ch2>The Turntables Might Wobble\u003c/h2>\n\u003cp>Hip-hop journalist and author Adisa Banjoko, a friend, recalls once being at Qbert’s house and hearing him scratch the rhythms of Rakim’s verses from Eric B. & Rakim’s “I Ain’t No Joke” – using entirely scratched tones to replicate Rakim’s stanzas. “You gotta record that,” Banjoko told Q, who just shrugged and said, “Nah, I do that all the time.”\u003c/p>\n\u003cp>Around this time, Apollo and Mike were honing their two-man routine and making beats with the intention of forming a rap crew, with them as producers and DJs. After returning from London with his U.S. title, Qbert introduced Mike and Apollo to a rapper who used to hang out at his house named Nim-FHD.\u003c/p>\n\u003cp>“This is where it all comes together,” Apollo says. “Me and Mike were making beats, and we always wanted to find a voice for our beats. And so when Qbert introduced us to this rapper, and when me and Mike heard that guy’s voice, Nim’s voice, we were like, ‘Oh man, that’s the voice for our music.’”\u003c/p>\n\u003cfigure id=\"attachment_13952232\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg\" alt=\"\" width=\"604\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/n1071373619_171639_1875-160x110.jpg 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">The extended crew. \u003ccite>(Courtesy Apollo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apollo explained his vision to Nim, and they enlisted H2O, another emcee they met through Qbert, who also joined the group. “We told Q, do you want to be a part of the ‘\u003ca href=\"https://www.youtube.com/watch?v=Sd5gFx001qg\">Peter Piper\u003c/a>’ routine? And he was like, overjoyed. Like, ‘Let’s do it. Absolutely, let’s do it.’ So then we’re like… why don’t we become the DJs for this group that will be the first rap group with three DJs and two rappers? And we’ll do all the beats and scratching.”\u003c/p>\n\u003cp>They christened themselves FM2O – an acronym for “Furious Minds To Observe” — the first iteration of what would become the Invisibl Skratch Piklz. As Mike says, “it was definitely a meant-to-be moment, when I hooked up with Q.”\u003c/p>\n\u003cp>The group was managed by Aquino, who had left Unlimited Sounds and started throwing parties while trying to establish an independent hip-hop label, Ace Beat. While working on a demo tape, FM2O played local venues and music industry showcases like the Gavin Convention and New Music Seminar. In 1992, they appeared at the Omni in Oakland on a bill with Banjoko’s crew, Freedom T.R.O.O.P. 187, plus Organized Konfusion, Gangstarr and headliner Body Count. Epic as that lineup is, Apollo, Mike and Qbert’s orchestrated turntable segment during FM2O’s set was the absolute showstopper.\u003c/p>\n\u003cp>FM2O’s music was slightly ahead of its time; in the early ’90s, “alternative hip-hop” hadn’t yet established itself in the mainstream. No hip-hop group had ever featured three DJs, all of them scratch fanatics.\u003c/p>\n\u003cp>While Aquino tried unsuccessfully to secure FM2O a label deal, the DJs made moves in the battle scene.\u003c/p>\n\u003cfigure id=\"attachment_13952242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_MMM_jacket_PhotobyJeffStrawBranding-2387-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike with his DMC Legend jacket at The Midway in San Francisco, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Major World Titles\u003c/h2>\n\u003cp>Qbert’s second-place 1991 DMC finish earned him props from Clark Kent, a well-respected New York DJ and producer of the New Music Seminar DJ Battle for World Supremacy. Kent asked Qbert to judge the 1992 battle alongside NYC heavyweights like EPMD’s DJ Scratch and Gangstarr’s DJ Premier. Mix Master Mike, meanwhile, entered as a contestant – and ended up winning the battle. (Ironically, Aquino says, instead of practicing before his routine, Mike had stayed up all night.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=ZLRprNA_GSk\">Video of the battle\u003c/a> – during which Mike performs eight different routines, besting Japan’s DJ Honda in the final showdown before taking on defending champ Supreme in a challenge match – confirms he was on a mission to crush all competition. He doubles up Word of Mouth’s “King Kut” with blinding speed and finesse, blends Schooly D and Flavor Flav phrases to dis “sucker DJs,” slows down the records to juggle entirely new beats, deconstructs the wax into a series of melodic tones, and maintains a sense of rhythmic mastery that’s chaotic and jarring but never veers out of control. Boisterous shouts from the crowd testify to Mike’s determined brilliance.\u003c/p>\n\u003cp>Billed as the Rocksteady DJs (with the blessing of Bronx B-boy legend Crazy Legs, from the Rock Steady Crew), Qbert, Mike and Apollo won the DMCs that same year with the “Peter Piper” routine. The following year, with DJ Apollo unavailable while touring as the Souls of Mischief’s DJ, Mike and Qbert, billed as the Dream Team, again won the DMC World Championship. Mike still remembers the anticipation and energy that went into the preparations for the battle, along with the ginseng they imbibed before their set “like Chinese martial arts masters.”\u003c/p>\n\u003cfigure id=\"attachment_13952237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg\" alt=\"\" width=\"600\" height=\"397\" class=\"size-full wp-image-13952237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/l_f99accf3c766cef703abeb72c042e21e-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike, pictured at center: ‘It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know?’ \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These victories were culturally significant. Not only had no West Coast DJ ever been crowned a World Champion before, but no Filipino DJ had ever placed that high in a major competition.\u003c/p>\n\u003cp>To explain just how significant, it’s necessary to understand the evolution of the DJ artform.\u003c/p>\n\u003cp>The first development, playing “break” sections of records (known as breakbeats), was initially a clumsy needle-drop technique originated by hip-hop pioneer Kool Herc. Grandmaster Flash refined the DJ vocabulary with backspinning, cueing, cutting, punch phrasing, quick-mixing and reading the record like a clock. Grand Wizzard Theodore developed the basic scratch. Steve Dee invented the beat-juggle. But no DJ was doing synchronized team routines that reimagined the turntables as individual instruments prior to the Rocksteady DJs.\u003c/p>\n\u003cp>“That was an awesome thing,” Mike says. “It just started from a thought. The collective team, it was like it was a unit. We all had the same aspirations and goals of doing things people had never, ever seen or heard before. And it just spawned this whole movement. And it’s just something that we love to do. It was a discovery. Right? ‘Oh, shit. We could take this and flip it anyway we want to,’ you know? And that was the beauty of it.”\u003c/p>\n\u003cfigure id=\"attachment_13952220\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-2048x1372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.jackets-1920x1286.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sporting championship jackets in Tokyo, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their succession of three major titles in two years elevated the DJ artform and raised the bar for battles. Teams of three or more DJs would soon proliferate throughout the DJ universe, and battle routines became more well-rounded, with emphasis on scratching, beat-juggling, and musicality or rhythmic coherence, as well as sheer technical ability.\u003c/p>\n\u003cp>It also led to a backlash of sorts: Mike confirms that after dominating for three years in a row, his crew was politely asked to retire from the DMC competition. He characterizes the request as a “giving other people a chance to win type deal.” But to him and his other Bay Area battlers, “We felt like it wasn’t fair to us because we got a lot in the tank. Let’s go. Keep going. See how far we can go… we were ready to defend the next year. But unfortunately they wanted to make us judges.”\u003c/p>\n\u003cp>As it turned out, stepping away from the competitive battle scene proved to be a blessing in disguise. “After we stopped battling,” Mike says, “I was like, okay, what’s next? We’re going to make records now. I’m gonna become a full fledged artist, you know? I don’t want to be this DJ dude. I don’t want to be a DJ guy that’s playing other people’s records standing up there. We’ve done that already. I’m going to get in the studio and be a producer, and I’m going to make music out of this whole thing, like, springboard into making original compositions. And so that’s what I’m doing, to this day.”\u003c/p>\n\u003cfigure id=\"attachment_13952238\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg\" alt=\"\" width=\"1430\" height=\"1039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996.jpg 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-in-Hawaii-1996-768x558.jpg 768w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Hawaii, 1996. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But first, the crew needed a new name. During their time DJing for FM2O, the three DJs were collectively known as Shadow of the Prophet, or simply, The Shadow. A chance encounter with an early-career DJ Shadow – who apologetically offered to change his name – led to Qbert graciously telling him that he could keep the name “Shadow,” and that he’d change his group’s name instead. “Rocksteady DJs” and “The Dream Team” were one-offs, for the most part. They needed something catchy that also reflected who they were.\u003c/p>\n\u003cp>One day it came to them. As Qbert recounts, “We was on one, and we were laughing and laughing. And I think Mix Master Mike said, “Why don’t we be called the Invisible Pickles? We were just cracking up and we were thinking about, you know, an invisible pickle.”\u003c/p>\n\u003cp>The next day, Qbert got a call from his pal Lou Quintanilla, a.k.a. DJ Disk. “And he said, ‘How about Invisible Scratch Pickles?’ I was like, that kind of sounds dope.” (Though it may sound abstract, the name is rooted in a concrete concept: the turntable as an “invisible instrument” that could be almost any instrument – drums, guitar, vocals, anything.) The crew’s offbeat sense of humor reflected in their new name had long been evident; in 1992, they released \u003cem>Battle Breaks\u003c/em>, one of the first DJ tool records specifically designed for scratching, officially credited to the Psychedelic Scratch Bastards on the Dirt Style label. In later years they would put out various releases under an affiliate record label that they named Galactic Butt Hair.\u003c/p>\n\u003cp>Before settling on the new name, though, they ran it by a younger DJ who was asked to join the crew — Jonathan Cruz, a.k.a. DJ Shortkut.\u003c/p>\n\u003cfigure id=\"attachment_13952228\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg\" alt=\"\" width=\"1759\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.shortkut-1536x1042.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Electro and the Art of the Quick Mix\u003c/h2>\n\u003cp>Growing up in Daly City, Shortkut caught the DJ bug thanks to a Filipino mobile crew who played his 6th grade dance. He started DJing at age 13, after the local Filipino sound system culture had cycled through disco, metal, and New Wave, before arriving at hip-hop, freestyle and Miami bass.\u003c/p>\n\u003cp>One of Shortkut’s first exposures to a DJ battle took place in a large hall.“There would be about four to six sound systems separately set up in the one room with their own individual sound systems. Each group would get about like 20 minutes to do their thing, and then at the end of the night, whoever won. The word got out that group won, and then that’s who everyone wanted to book for school dances or birthday parties.”\u003c/p>\n\u003cp>Shortkut joined a crew called Just 2 Hype, which played freestyle, Miami bass and 808-laced Mantronix singles. “That’s why I think the Bay Area is specifically more scratch-DJ based,” he says, “because everyone scratched to fast beats, all the classic electro stuff.”\u003c/p>\n\u003cp>He also worked on perfecting the art of the quick-mix, changing up the record every four or eight bars. But records like DJ Jazzy Jeff’s “Live At Union Square” drew him into the world of scratch-mixing. “When I first started scratching, I just listened to records, basically. All the early records I used to buy, I would just try to copy what I heard on record.”\u003cbr>\nIn the late ’80s and early ’90s, he says, “I really got into embracing hip-hop” – catching up with records that hadn’t been hugely popular in the Filipino scene, and becoming further enthralled with scratching and beat-juggling. “That’s when I was first hearing about Qbert and Apollo and Mix Master Mike,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13952223\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg\" alt=\"\" width=\"1742\" height=\"1190\" class=\"size-full wp-image-13952223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan1_-1536x1049.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">First trip to Japan, 1993. At far left is B-boy and dancer Richard Colón, a.k.a. Crazy Legs from the Rock Steady Crew. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, Apollo was the big name, being from Unlimited Sounds. “He was the party rocker. But he was kind of the B-boy out of all the Filipino guys I knew.”\u003c/p>\n\u003cp>As he attempted to build his DJ skills, Shortkut remembers listening to cassette tapes of Qbert scratching and mixing. Initially, he had only basic equipment, and used belt-driven turntables. “I got better once I got to direct-drives because I already knew how to handle it and have a certain feel to it.”\u003c/p>\n\u003cp>Qbert winning the U.S. DMC Championship in 1991 was huge, he says. “We didn’t really have any role models, as a Filipino kid.” He took the win as validation – and inspiration.\u003c/p>\n\u003cp>“I lived about five minutes from Q’s house,” he says. “I used to go to Q’s house with the guy who taught me how to DJ. We both cold-called Q because we knew he was the one who had all the battle videos. So we would go to his house and dub the videos and while they were dubbing, me and Q would scratch.”\u003c/p>\n\u003cp>During this time, Shortkut says, Mike had moved to Sacramento, and Apollo was DJing for Branford Marsalis, “so I would hook up with Q and Disk a lot.” Q used to bring Shortkut and Disk along when he opened up shows in the Bay – affording the younger DJs valuable stage experience. Shortkut, Mike, and Q eventually formed a crew briefly called the Turntable Dragons, pre-ISP. Then, in 1993, Shortkut, Mike, and Q played a \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Bomb Hip-Hop\u003c/a> Party – possibly the first time they had been billed as the Invisibl Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952239\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/invisblskratchp_002-h.gif\" alt=\"\" width=\"250\" height=\"250\">\u003cfigcaption class=\"wp-caption-text\">The five-man crew. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone That Worked There Was Filipino’\u003c/h2>\n\u003cp>Dave Paul, publisher of \u003cem>Bomb Hip Hop Magazine\u003c/em>, coincidentally also began as a mobile DJ in 1984 with a crew called Midnight Connections. He tells a funny story about working an after-school job for Chevron. “I wasn’t that great. So they moved me from, like, the main Chevron on Geary Street over to one on California Street. And everyone that worked there was Filipino. Turned out everyone that worked there was also a DJ.”\u003c/p>\n\u003cp>Paul knew of Apollo from Unlimited Sounds, and had seen Qbert perform a famous “Mary Had A Little Lamb” routine during a San Jose battle around 1989 or 1990. “That really got his name out,” he says.\u003c/p>\n\u003cp>During the annual Gavin Convention in San Francisco, Bomb Hip Hop magazine would present live performance showcases. Paul booked the Piklz on multiple occasions, beginning in 1992, when they were still called the Rocksteady DJs.\u003c/p>\n\u003cp>According to Paul, the vibe of those early performances “was always sort of the \u003ca href=\"https://www.youtube.com/watch?v=kDLzGtQmMyw\">don’t-give-a-fuck style\u003c/a>. Like, things didn’t have to be clean. They were just really raw. And it was just ill. They were doing stuff that no one else was doing at the time.”\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10345320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After releasing a now-legendary compilation tape that featured Qbert along with a Canadian MC named Madchild, as well as local underground artists like Homeless Derelix, Blackalicious, Bored Stiff, and Mystik Journeymen, Bomb Hip Hop became a record label in 1995 with the release of \u003ca href=\"https://www.kqed.org/arts/13937489/best-bay-area-turntablism-scratch-dj-albums\">\u003cem>Return of the DJ Vol. 1\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>That record essentially started the movement of turntablism as a musical genre. The Skratch Piklz (at that time, Qbert, Shortkut and Disk) were featured on “Invasion of the Octopus People,” while Mix Master Mike contributed his first official solo production, “Terrorwrist.”\u003c/p>\n\u003cp>\u003cem>Return of the DJ \u003c/em>evolved into a compilation series spanning multiple volumes, and inspired numerous others, like Om Records’ \u003cem>Deep Concentration\u003c/em> and Ubiquity’s \u003cem>Audio Alchemy\u003c/em> compilations. Asphodel, an alternative label known for ultra-underground somnolent, ambient, droney electronic music, signed the Skratch Piklz to a deal, which resulted in 1996’s single “Invisibl Skratch Piklz vs. Da Klamz Uv Deth,” which featured Qbert, Shortkut, and Mix Master Mike.\u003c/p>\n\u003cfigure id=\"attachment_13952246\" class=\"wp-caption aligncenter\" style=\"max-width: 1938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg\" alt=\"\" width=\"1938\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca.jpg 1938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1020x991.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1536x1492.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-3-ae00e595ca-1920x1865.jpg 1920w\" sizes=\"(max-width: 1938px) 100vw, 1938px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisibl Skratch Piklz vs. Da Clamz Uv Deth,’ 1997. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A very strange thing about that (single) is, I had just invented scratch music,” Qbert says. “Which is this thing where every sound is scratched. Drums are scratched, the hi-hats are scratched, the snare and vocals are scratched, the chords, every single thing is scratched! No matter what is in there. So that was tracked out — like, every track was off the turntables, making a complete scratch song.”\u003c/p>\n\u003cp>Turntablism spread quickly through San Francisco’s progressive club scene in the mid-’90s. Mark Herlihy’s art/performance collective Future Primitive established itself as an avant garde music label with a live recording of Shortkut and Cut Chemist at Cat’s Alley, on Folsom Street. An outer Tenderloin hole in the wall, Deco, became a headquarters for unfiltered, ultra-creative DJ expression in its basement, via “Many Styles” nights curated by Apollo. Qbert was part of the groundbreaking alternative hip-hop group Dr. Octagon along with producer Dan the Automator and MC Kool Keith, who recorded an indie classic that got re-released nationally by Dreamworks. To this day, Qbert’s scratch solo on Dr. Octagon’s “Earth People” stands out as a particular flashpoint, the turntable equivalent, perhaps, of the guitar solos on “Hotel California” or “Comfortably Numb.”\u003c/p>\n\u003cp>Needless to say, it’s not an empty boast when Mix Master Mike says he and the Skratch Piklz “pretty much created this genre of music.” No one was doing it before them, and many followed in their footsteps. Locally, the Bullet Proof Scratch Hamsters (aka the Space Travelers), Supernatural Turntable Artists, and the Oakland Faders all scratched and juggled. Live bands incorporating turntablists included Live Human (DJ Quest) and Soulstice (Mei-Lwun). New York’s X-Ecutioners were probably ISP’s closest counterparts nationally, having formed in 1989. But despite their turntable innovations, even they weren’t performing or recording as a \u003cem>band\u003c/em> until after the Skratch Piklz.\u003c/p>\n\u003cfigure id=\"attachment_13952245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_ISP_11_JeffStraw-2144-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back when they were known as the X-Men, the X-Ecutioners faced off against the Piklz in a landmark 1996 battle in New York’s Manhattan Center – a contest so epic, it’s listed among \u003cem>Mixmag\u003c/em>’s \u003ca href=\"https://mixmag.net/feature/the-10-best-dj-scratch-battles-of-all-time\">Top 10 DJ Scratch Battles of All Time\u003c/a>. X-Ecutioners member and DJ historian Rob Swift says Qbert first came on his radar in 1991, when he beat X-Ecutioners founder Steve Dee to win the US DMC Finals.\u003c/p>\n\u003cp>“We thought he was Hawaiian,” Swift says, because Qbert appeared to be wearing a lei in the battle video. “We didn’t know that he was this Filipino DJ that came out of this Filipino community of DJs in the Bay Area. We didn’t know that there \u003cem>were\u003c/em> DJs out there.”\u003c/p>\n\u003cp>Swift later entered the 1991 New Music Seminar battle, where Qbert was a judge; the two exchanged numbers and began calling each other and exchanging videos regularly.\u003c/p>\n\u003cp>When rappers began increasingly excluding the DJ throughout the ’90s, he says he and Qbert would discuss what to do about it., “We would both be like, ‘You’ve got these rappers (not respecting the DJ). Fuck them, and we’re going to create our own DJ scene. If the music industry is going to turn their backs on DJing, we need to figure out a way to just create our own scene.’”\u003c/p>\n\u003cp>“And,” he adds, “that’s exactly what we did.”\u003c/p>\n\u003cfigure id=\"attachment_13952225\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg\" alt=\"\" width=\"1759\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Lebanon.trophy-1536x1018.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz in Lebanon. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Enter the ITF — and D-Styles\u003c/h2>\n\u003cp>When the Pilkz battled the X-Ecutioners, it was as much about gaining respect for turntable culture as it was about individual bragging rights. Though the court of public opinion is still split on who won, the battle put a spotlight on both crews. As Swift says, “We started strategizing ways to book our own tours and create all-DJ competitions (like) the ITF, the International Turntablist Federation,” who organized the historic battle.\u003c/p>\n\u003cp>Founded by Alex Aquino with help from Shortkut, the ITF was established in 1995 and stayed active until 2005. It was intended as a cultural organization, and as somewhat of a critique of the DMC, which had become the only major DJ competition, following the demise of the New Music Seminar.\u003c/p>\n\u003cp>“Without the DMC,” Aquino says, “we wouldn’t have this world stage for the guys to be on. But after Q lost that first battle, we were like, something has to change.”\u003c/p>\n\u003cp>Specifically, the criteria. “And so, we were like, let’s do our own battle. Let’s have real turntablists and DJs judge it, like a New Music Seminar, but instead of just the one-on-one battle, the advancement class for the belt, let’s do a scratching category. Let’s do a beat-juggling category. And let’s do a team category. And that’s how we started out.”\u003c/p>\n\u003cfigure id=\"attachment_13952211\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg\" alt=\"\" width=\"1366\" height=\"1834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-800x1074.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1020x1369.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-768x1031.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.magazine-1144x1536.jpg 1144w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">In a Japanese magazine, date unknown. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJs like Vin Roc, Babu, Craze, and A-Trak all won ITF titles, as did teams like the Allies and Beat Junkies. The ITF succeeded in giving turntablists a visible platform to showcase their skills and in further popularizing the artform in the U.S. and internationally. (In 1999, the DMC would add a team category, and the organization currently rotates additional categories, including Scratch, Portablist, and Beat Juggling.)\u003c/p>\n\u003cp>After \u003cem>Return of the DJ\u003c/em>’s “Octopus People,” with Apollo unavailable and Mix Master Mike pursuing a solo career, the Skratch Piklz needed new blood. For the next few years, ISP membership became somewhat fluid, swelling and contracting as new members joined for a while, before going off to do other projects. DJ Disk, DJ Flare, Canadian teenage prodigy A-Trak, and former Thud Rumble label manager Ritche Desuasido, a.k.a. Yogafrog, were all ISP members at one time or another, along with Shortkut.\u003c/p>\n\u003cp>In 1996, Beat Junkies member Dave Cuasito, a.k.a. D-Styles, joined the Piklz and became a linchpin for the group; Aquino calls him “the hidden master.” Though not as flashy or famous as Qbert, he’s well-respected in turntablist circles and has helped focus the Pilkz on compositional elements in their music while also being able to scratch, cut and juggle at a high level.\u003c/p>\n\u003cp>Born in the Philippines, D-Styles grew up in San Jose. Like the other Piklz, he was exposed to hip-hop through breaking and its accompanying soundtrack. “I would hear the songs that they were playing, but then they would scratch certain words and certain parts of that song. And so I was always curious how they were doing it.”\u003c/p>\n\u003cfigure id=\"attachment_13952229\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg\" alt=\"\" width=\"1759\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.qbert_.dst_-1536x1020.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Grandmaster DXT and Qbert. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His answer came when he saw Grandmixer DST (now known as DXT)’s scratch segment on Herbie Hancock’s “Rockit.” After getting a basic Realistic mixer for his birthday, he, too, joined a mobile DJ crew (Sound City), who pooled their equipment like so many others – and spent their meager proceeds on post-gig Denny’s meals. After taking part in typical mobile battles with crews exchanging 20-minute sets, he discovered there was a battle specifically for scratch DJs, and competed in the 1993 DMC.\u003c/p>\n\u003cp>In 1996, he moved to San Francisco to attend college, but what he really wanted was to pursue music. He was already familiar with Mike, Qbert and Shortkut from the battle scene, and from hanging out on Tuesday night at Deco, a small speakeasy-style jazz bar with open turntables in the basement.\u003c/p>\n\u003cp>“One strange night, I got a phone call on my answering machine and it was Yogafrog and Q, and they were like, ‘Hey, man’ – I don’t know if they were drunk or what – but they were like, ‘we need to talk, man. We think we should all come together and form a crew.” They met up and talked, and soon after, he was asked to officially join the group.\u003c/p>\n\u003cp>D-Styles stoic demeanor compliments the other Piklz, yet beneath his focused concentration lies a punk rock attitude that aligns with Qbert’s philosophy that the only rule is there are no rules. Likewise, his turntable-composition approach balances the others’ battle-DJ backgrounds.\u003c/p>\n\u003cfigure id=\"attachment_13952235\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png\" alt=\"\" width=\"636\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs.png 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SK-A-TRAK-1997-at-Qs-160x119.png 160w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut and A-Trak at Qbert’s place, 1997. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As far as a turntable composer, I feel like we definitely embrace the more musical side of it, and less technical,” he says. “For the battle DJs, they really try to spray like a Uzi, you know what I mean? And just get off a bunch of power stuff and try to wow the the crowd and the judges. For music, it’s more about the long-term thing. We want to make music that’s timeless. And it’s not based off of a five-minute routine.”\u003c/p>\n\u003cp>With the core Piklz now set with Qbert, Shortkut and D-Styles, Mix Master Mike – who remained affiliated with the crew – says, “I felt like we had the perfect stew. Everyone had their own style, their own identity.”\u003c/p>\n\u003cp>Around this time, Mike began putting together his first solo album, \u003cem>Anti-Theft Device\u003c/em>, which he envisioned as “not an underground album (but) a worldwide release.” He imagined himself as a sonic transducer, attracting and reshaping matter into different forms. He drew on inspirations like Led Zeppelin’s John Bonham, early Public Enemy, Thelonious Monk, Rage Against the Machine and Ennio Morricone. He contemplated the subtlety of silence, of ghost notes and pregnant pauses. And then he went out and made an album with booming, deafening drums and thumping bass on nearly every track.\u003c/p>\n\u003cp>“I focused on the drums first,” Mike says. “I wanted to make sure those drums were hitting really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13952249\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg\" alt=\"\" width=\"1000\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/MMM.antitheft-768x756.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike’s ‘Anti-Theft Device,’ 1998. \u003ccite>(Asphodel Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Anti-Theft Device\u003c/em>, the found sounds and quirky vocal samples (“NASA maintains this is \u003cem>not\u003c/em> Colonel Blaha’s voice”) often present on DJ mix tapes resurface often, along with boom-bap beats and scratched phrases, instruments and sound effects. There are elements of intoxicated or altered reality, and bug-out moments that suggest turboized vocoders spouting underwater propellers, or seemingly random musical sample generators harnessing infinite libraries of sound, from raga to reggae to rock.\u003c/p>\n\u003cp>“At the end of the day,” Mike says, “it’s about spearheading the evolution of the battle DJ – as artist, composer, tastemaker.”\u003c/p>\n\u003cp>While Mike was the first Pikl to make a solo album, Qbert crafted an especially ambitious concept for his first official solo debut. As Mike tells it, he had some extra tracks left over, which he gave to Qbert. “And he fuckin’, just like, went crazy on those beats. And then, yeah. It became \u003cem>Wave Twisters\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13952250\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/R-16932444-1610670653-3566-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert’s ‘Wave Twisters,’ 1998. The album spawned a cult-classic 2001 animated film of the same name. \u003ccite>(Galactic Butt Hair Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wave Twisters, the Beasties and Beyond\u003c/h2>\n\u003cp>\u003cem>Wave Twisters\u003c/em> holds the rare distinction of being a soundtrack around which a movie was later designed. The album received extremely positive reviews, making many music critics’ year-end lists. To this day, it’s regarded as one of the best turntablism albums of all time. Tracks like “Destination: Quasar 16.33.45.78” took ISP battle routines to new levels, imagining a battle in inner space between a heroic dental hygienist and the minions of a villain named Lord Ook. The track revels in sci-fi tropes, with vocal cues like “Attention, starship!” coloring the scratched, transformed and cut-up audio landscape.\u003c/p>\n\u003cp>According to Qbert, \u003cem>Wave Twisters\u003c/em> was willed into existence. “I intentionally foresaw it because in the back of my head, I was like, I’m gonna make every song like a storyline. It’s going to be a thing. And somebody’s going to animate this. And then out of nowhere, the universe made it all work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937489","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Mix Master Mike was setting his own intentions – around becoming a member of the Beastie Boys. A longtime fan of their music, he says, “even before I met them, I always thought I was the fourth Beastie, and I was the missing element.”\u003c/p>\n\u003cp>After meeting the Beasties’ MCA during a Rock Steady Crew anniversary in 1996, Mike took an unusual route to make his dreams come true. “I went up to MCA and introduced myself,” he recalls. “He knew who I was through all the competitions and the battles, and we exchanged phone numbers and went back home. And late at night, I would just leave these scratch messages on his answering machine. Two, three in the morning, just leaving these scratches on his machine, hoping that these transmissions would penetrate. Fortunately they did. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mix-master-mike-becomes-the-beastie-boys-dj\">And the rest is history\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13952251\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-2048x1289.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Beasties.MixMasterMike.2004-1920x1208.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Mixmaster Mike, Mike Diamond, Adam ‘MCA’ Yauch, and Adam ‘Ad-Rock’ Horovitz of The Beastie Boys attend the MTV Europe Music Awards 2004 at Tor di Valle Nov. 18, 2004 in Rome, Italy. \u003ccite>(Bruno Vincent/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike joined the Beasties in time for 1998’s \u003cem>Hello Nasty\u003c/em> album, remaining part of the group until MCA died of cancer in 2012 and the Beastie Boys disbanded. “So at the end of the day,” Mike says, “it’s all about power of intention, right? And my intention was to get in the band or work with the band.”\u003c/p>\n\u003cp>As the ’90s drew to a close, the Piklz weren’t quite done. They produced Skratchcon 2000, a scratching convention, bringing together pioneering masters and acolytes of DJ scratch music. “That was our old manager, Yogafrog,” Qbert says. “His idea to put on a convention called Scratchcon, that was a genius idea of his, and we should do a Part II. We got all the best, most popular scratchers on the planet to come through. It was huge. Steve Dee was there, even Aladdin, all the X-Ecutioners, everybody. It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13952252\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg\" alt=\"\" width=\"1500\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Garage.Group_-768x503.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shortkut, D-Styles, Mix Master Mike, Yogafrog and QBert in QBert’s garage in the Excelsior District of San Francisco, 1998. \u003ccite>(Liz Hafalia /The San Francisco Chronicle via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skratchcon drew fans from all over the country, in addition to current and historic scratch DJs,for live showcases and demonstrations like DJ Radar’s introduction of scratch notation. The convention culminated with a live concert at the Fillmore Auditorium, billed at the time as the ISP’s last official performance. To this day, it stands as one of the highpoints of a decade overflowing with revolutionary developments in hip-hop DJ culture, which saw the Invisibl Skratch Piklz make history and become iconic representatives of turntablism.\u003c/p>\n\u003cp>As Mix Master Mike says, “There is no ceiling to this. No, it’s whatever you think about is whatever you create and whatever you can apply.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_2854","arts_21712","arts_2852","arts_10278","arts_831","arts_17218","arts_21940","arts_1146","arts_19347","arts_21711"],"featImg":"arts_13952226","label":"arts"},"arts_13950520":{"type":"posts","id":"arts_13950520","meta":{"index":"posts_1591205157","site":"arts","id":"13950520","score":null,"sort":[1707948014000]},"guestAuthors":[],"slug":"ruth-beckford-dance-black-panthers-free-breakfast-program","title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","publishDate":1707948014,"format":"standard","headTitle":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]I[/dropcap]n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","status":"publish","parent":0,"modified":1710265590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1542},"headData":{"title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","description":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","datePublished":"2024-02-14T22:00:14.000Z","dateModified":"2024-03-12T17:46:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/6767ea25-cddc-42bd-baac-b12c0136bde8/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548,pop_102326,arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_966","arts_7862","arts_11615"],"tags":["arts_6775","arts_1346","arts_10278","arts_7408","arts_1143","arts_21841"],"featImg":"arts_13951421","label":"arts_8978"},"arts_13937270":{"type":"posts","id":"arts_13937270","meta":{"index":"posts_1591205157","site":"arts","id":"13937270","score":null,"sort":[1699894805000]},"guestAuthors":[],"slug":"the-pregnant-teen-who-captained-a-clipper-ship-in-1856","title":"The Pregnant Teen Who Captained a Clipper Ship in 1856","publishDate":1699894805,"format":"standard","headTitle":"The Pregnant Teen Who Captained a Clipper Ship in 1856 | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>[aside postid='arts_13932525']The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"(max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>[aside postid='arts_13892514']The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>[aside postid='arts_13908327']Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mary Ann Patten was aboard Neptune's Car when her husband, the captain, fell ill. She navigated the vessel to safety.","status":"publish","parent":0,"modified":1705092195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1237},"headData":{"title":"The Pregnant Teen Who Captained a Clipper Ship in 1856 | KQED","description":"Mary Ann Patten was aboard Neptune's Car when her husband, the captain, fell ill. She navigated the vessel to safety.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Pregnant Teen Who Captained a Clipper Ship in 1856","datePublished":"2023-11-13T17:00:05.000Z","dateModified":"2024-01-12T20:43:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/07cbfb3d-2008-4e9f-b066-b0bc01444a1f/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932525","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"(max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892514","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908327","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_10278","arts_21841"],"featImg":"arts_13937666","label":"arts_8978"},"arts_13932525":{"type":"posts","id":"arts_13932525","meta":{"index":"posts_1591205157","site":"arts","id":"13932525","score":null,"sort":[1693577313000]},"guestAuthors":[],"slug":"mother-thompson-san-francisco-tavern-owner-bay-area-history","title":"The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors","publishDate":1693577313,"format":"standard","headTitle":"The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>Sailors called her “mother,” thieves cursed her name, and for decades she entertained both at her Embarcadero saloon. Mother Thompson, as she was known, may have shared a nickname with a \u003ca href=\"https://en.wikipedia.org/wiki/Eliza_Thompson\">well-known temperance campaigner\u003c/a>, but her business was booze, banter, then more booze. It was also her to job to boldly defend her bar during a time when it was dangerous to be a woman behind one.\u003c/p>\n\u003cp>[aside postid='arts_13931837']Mother Thompson’s establishment, named Mrs. Thompson’s, was opposite today’s Rincon Park. Its front door was on Embarcadero between Howard and Folsom, with an additional rear entrance on Steuart Street that faced a vacant lot. \u003cem>The San Francisco Examiner\u003c/em> reported in 1901 that one patron attempting to use the back entrance was robbed of his pocket watch by three men. The front entrance wasn’t much safer. In 1918, the \u003cem>Sacramento Bee\u003c/em> reported that a 41-year-old sailor named John McMahon was shot in front of the bar by an unknown assailant and died on his way to the Harbor Emergency Hospital.\u003c/p>\n\u003cp>The trouble didn’t always stay outside the saloon either. On one occasion when a customer refused to pay for his drinks, Thompson simply came out from behind the bar, walked up to the man, and slammed him in the throat with a length of rubber hose. \u003cem>The Oakland Tribune\u003c/em> later reported that “he went down as though struck by a pile driver,” and “a couple of swampers [men who performed odd jobs] picked him up and tossed him to the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13933424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg\" alt=\"An historical image of crowds of men gathered with mules on a busy corner. Behind them is a city block of wooden structures and shops.\" width=\"800\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-768x908.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view, in 1900, of Embarcadero facing north from Folsom St. Mother Thompson’s bar was on the block visible behind the crowds in the foreground. \u003ccite>(OpenSFHistory / wnp37.02367)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thompson’s regulars — mostly sailors — treated her with the utmost respect, often bringing her gifts from their travels including fine silks, wooden carvings and artificial flowers. When her tavern caught fire in 1916, sailors assisted the firemen tasked with extinguishing the blaze. \u003cem>The Chronicle\u003c/em> reported that during the fire, six men in the bar refused to leave, saying “If she goes down, we go with her.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']Thompson returned these kinds of favors by offering tabs and free drinks to friendly seafarers who were down on their luck. In a 1911 story in \u003cem>The San Francisco Call\u003c/em>, Thompson — apparently “getting on in years” with gray hair and a “very ample” waistline by then — was quoted as saying, “The sailor byes [boys] has a hard life with nothin’ but a plank between him and death. And so they likes to have what fun they can ashore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These men often felt protective of Thompson and assisted her when she was faced with unruly patrons. “Niver have I been insulted by sailor men,” Thompson told \u003cem>The Call\u003c/em>. “One or twice a man has started to say something, but always it was a landsman and the byes put him out.”\u003c/p>\n\u003cp>In 1913, when a towboat captain named Joseph C. Powell demanded repeatedly that someone else in the bar pay for drinks he’d already consumed, Thompson’s regulars were said to have set upon him, beaten him senseless and taken $5 from his pocket to pay her. \u003cem>The Oakland Tribune\u003c/em> reported shortly thereafter that Powell was “laid up at the harbor hospital for repairs.”\u003c/p>\n\u003cfigure id=\"attachment_13933422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933422\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg\" alt=\"A black wooden shack marked PIER 10 sits before ships docked on the San Francisco Bay. The air is thick with smoke. The ferry building is visible off in the distance.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scene across the street from Mrs. Thompson’s back in 1900. \u003ccite>(OpenSFHistory / wnp4.1330)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is fairly likely, based on the manner in which she was quoted in \u003cem>The Call\u003c/em>, that Thompson originally hailed from England. This would also explain her popularity with British sailors — she was the only bartender in San Francisco who served English ale in pewter mugs, as was customary in the U.K. at the time. Sailors from Liverpool flocked to see Thompson every chance they got. One report in \u003cem>The San Francisco Call\u003c/em> also mentioned “a swarthy, black-haired Highland Scotchman and a gray-haired old Welsh bosun” enthusiastically singing the sea shanty “\u003ca href=\"https://www.youtube.com/watch?v=ItFqjjLPjcA\">Blow the Man Down\u003c/a>” at the end of the bar.\u003c/p>\n\u003cp>Thompson, though well equipped to deal with even the roughest of customers, was also known to sit behind the bar knitting on slow nights. She had raised several children — when they were young, they stayed with her at the bar while she worked — and kept a large gray cockatoo as a pet. The bird hung out at the tavern and was known to occasionally shout “Belay, there!” at noisy customers.\u003c/p>\n\u003cp>Just how long Mrs. Thompson’s was in operation is now difficult to ascertain. Some turn-of-the-century newspaper articles said only the oldest of sailors would remember exactly when it opened. Based on when newspaper reports about the bar disappeared, it was likely put out of business by Prohibition in 1920.\u003c/p>\n\u003cp>[aside postid='arts_13929998']What we do know is that between 1900 and 1940, women like Mother Thompson made up just 2% of the bartending workforce. Things got even worse in 1948 when \u003ca href=\"https://en.wikipedia.org/wiki/Goesaert_v._Cleary\">a Supreme Court ruling stopped women from working as bartenders\u003c/a> in any establishment that wasn’t owned by their father or husband, or in any town that had a population over 50,000 people. The law was designed to force women back out from behind the bar after the boom in female bartending that had happened during World War II. That law wasn’t overturned until 1971.\u003c/p>\n\u003cp>Mother Thompson had neither the time nor the inclination to worry about whether or not her profession was suitable for someone of her gender. This undoubtedly eccentric woman was concerned only about living her life on her own terms from beneath her signature black straw bonnet. But Thompson also served as an important early example of just how successful a female bar owner could be — not to mention how beloved.\u003c/p>\n\u003cp>“She has a deal of kindness in her eyes,” \u003cem>The San Francisco Call\u003c/em> once noted, “and she smiles when she talks of the seafaring men.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mother Thompson’s Embarcadero tavern was rough and ready, but it was a home away from home for sailors.","status":"publish","parent":0,"modified":1705092279,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1055},"headData":{"title":"Mother Thompson’s San Francisco Tavern Was a Sailor’s Paradise | KQED","description":"Mother Thompson’s Embarcadero tavern was rough and ready, but it was a home away from home for sailors.","ogTitle":"The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors","ogDescription":"","ogImgId":"","twTitle":"The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors","twDescription":"","twImgId":"","socialTitle":"Mother Thompson’s San Francisco Tavern Was a Sailor’s Paradise%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors","datePublished":"2023-09-01T14:08:33.000Z","dateModified":"2024-01-12T20:44:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/31669622-87e3-42ec-aad5-b07c01210b6c/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sailors called her “mother,” thieves cursed her name, and for decades she entertained both at her Embarcadero saloon. Mother Thompson, as she was known, may have shared a nickname with a \u003ca href=\"https://en.wikipedia.org/wiki/Eliza_Thompson\">well-known temperance campaigner\u003c/a>, but her business was booze, banter, then more booze. It was also her to job to boldly defend her bar during a time when it was dangerous to be a woman behind one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931837","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Mother Thompson’s establishment, named Mrs. Thompson’s, was opposite today’s Rincon Park. Its front door was on Embarcadero between Howard and Folsom, with an additional rear entrance on Steuart Street that faced a vacant lot. \u003cem>The San Francisco Examiner\u003c/em> reported in 1901 that one patron attempting to use the back entrance was robbed of his pocket watch by three men. The front entrance wasn’t much safer. In 1918, the \u003cem>Sacramento Bee\u003c/em> reported that a 41-year-old sailor named John McMahon was shot in front of the bar by an unknown assailant and died on his way to the Harbor Emergency Hospital.\u003c/p>\n\u003cp>The trouble didn’t always stay outside the saloon either. On one occasion when a customer refused to pay for his drinks, Thompson simply came out from behind the bar, walked up to the man, and slammed him in the throat with a length of rubber hose. \u003cem>The Oakland Tribune\u003c/em> later reported that “he went down as though struck by a pile driver,” and “a couple of swampers [men who performed odd jobs] picked him up and tossed him to the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13933424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg\" alt=\"An historical image of crowds of men gathered with mules on a busy corner. Behind them is a city block of wooden structures and shops.\" width=\"800\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-768x908.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view, in 1900, of Embarcadero facing north from Folsom St. Mother Thompson’s bar was on the block visible behind the crowds in the foreground. \u003ccite>(OpenSFHistory / wnp37.02367)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thompson’s regulars — mostly sailors — treated her with the utmost respect, often bringing her gifts from their travels including fine silks, wooden carvings and artificial flowers. When her tavern caught fire in 1916, sailors assisted the firemen tasked with extinguishing the blaze. \u003cem>The Chronicle\u003c/em> reported that during the fire, six men in the bar refused to leave, saying “If she goes down, we go with her.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927137","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Thompson returned these kinds of favors by offering tabs and free drinks to friendly seafarers who were down on their luck. In a 1911 story in \u003cem>The San Francisco Call\u003c/em>, Thompson — apparently “getting on in years” with gray hair and a “very ample” waistline by then — was quoted as saying, “The sailor byes [boys] has a hard life with nothin’ but a plank between him and death. And so they likes to have what fun they can ashore.”\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>These men often felt protective of Thompson and assisted her when she was faced with unruly patrons. “Niver have I been insulted by sailor men,” Thompson told \u003cem>The Call\u003c/em>. “One or twice a man has started to say something, but always it was a landsman and the byes put him out.”\u003c/p>\n\u003cp>In 1913, when a towboat captain named Joseph C. Powell demanded repeatedly that someone else in the bar pay for drinks he’d already consumed, Thompson’s regulars were said to have set upon him, beaten him senseless and taken $5 from his pocket to pay her. \u003cem>The Oakland Tribune\u003c/em> reported shortly thereafter that Powell was “laid up at the harbor hospital for repairs.”\u003c/p>\n\u003cfigure id=\"attachment_13933422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933422\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg\" alt=\"A black wooden shack marked PIER 10 sits before ships docked on the San Francisco Bay. The air is thick with smoke. The ferry building is visible off in the distance.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scene across the street from Mrs. Thompson’s back in 1900. \u003ccite>(OpenSFHistory / wnp4.1330)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is fairly likely, based on the manner in which she was quoted in \u003cem>The Call\u003c/em>, that Thompson originally hailed from England. This would also explain her popularity with British sailors — she was the only bartender in San Francisco who served English ale in pewter mugs, as was customary in the U.K. at the time. Sailors from Liverpool flocked to see Thompson every chance they got. One report in \u003cem>The San Francisco Call\u003c/em> also mentioned “a swarthy, black-haired Highland Scotchman and a gray-haired old Welsh bosun” enthusiastically singing the sea shanty “\u003ca href=\"https://www.youtube.com/watch?v=ItFqjjLPjcA\">Blow the Man Down\u003c/a>” at the end of the bar.\u003c/p>\n\u003cp>Thompson, though well equipped to deal with even the roughest of customers, was also known to sit behind the bar knitting on slow nights. She had raised several children — when they were young, they stayed with her at the bar while she worked — and kept a large gray cockatoo as a pet. The bird hung out at the tavern and was known to occasionally shout “Belay, there!” at noisy customers.\u003c/p>\n\u003cp>Just how long Mrs. Thompson’s was in operation is now difficult to ascertain. Some turn-of-the-century newspaper articles said only the oldest of sailors would remember exactly when it opened. Based on when newspaper reports about the bar disappeared, it was likely put out of business by Prohibition in 1920.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929998","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What we do know is that between 1900 and 1940, women like Mother Thompson made up just 2% of the bartending workforce. Things got even worse in 1948 when \u003ca href=\"https://en.wikipedia.org/wiki/Goesaert_v._Cleary\">a Supreme Court ruling stopped women from working as bartenders\u003c/a> in any establishment that wasn’t owned by their father or husband, or in any town that had a population over 50,000 people. The law was designed to force women back out from behind the bar after the boom in female bartending that had happened during World War II. That law wasn’t overturned until 1971.\u003c/p>\n\u003cp>Mother Thompson had neither the time nor the inclination to worry about whether or not her profession was suitable for someone of her gender. This undoubtedly eccentric woman was concerned only about living her life on her own terms from beneath her signature black straw bonnet. But Thompson also served as an important early example of just how successful a female bar owner could be — not to mention how beloved.\u003c/p>\n\u003cp>“She has a deal of kindness in her eyes,” \u003cem>The San Francisco Call\u003c/em> once noted, “and she smiles when she talks of the seafaring men.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_6660","arts_10278","arts_21529","arts_21841"],"featImg":"arts_13933547","label":"arts_8978"},"arts_13957833":{"type":"posts","id":"arts_13957833","meta":{"index":"posts_1591205157","site":"arts","id":"13957833","score":null,"sort":[1715729282000]},"guestAuthors":[],"slug":"golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","publishDate":1715729282,"format":"standard","headTitle":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","status":"publish","parent":0,"modified":1715729282,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":679},"headData":{"title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","description":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","datePublished":"2024-05-14T23:28:02.000Z","dateModified":"2024-05-14T23:28:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957833","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790376816840146993"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790360287725674855"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_5786","arts_6926","arts_1601","arts_22151","arts_9346","arts_1829","arts_681","arts_1803","arts_1146"],"featImg":"arts_13957856","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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