Reword and rewrite the following article in HTML, use a hip journalistic writing style and make the heading statements in H3 or bold font where necessary: Galexi Jones did not discover cannabis through branding. She inherited it through family, work, and place. “I’m originally from Humboldt County, California,” she told me. “I grew up in a grow room. I come from generational growers.”
That upbringing shaped how she hears the world. It shaped how she moves through the music industry, too. Jones left Northern California for Los Angeles, built experience in studios and creative circles, and eventually landed in New York, where she now splits her time between releasing music and building infrastructure for other artists through her agency.
But the real thread isn’t geography. It’s integrity. Jones grew up inside a culture where cannabis wasn’t a costume and community wasn’t a buzzword. When she talks about music, that same ethic shows up. She wants artists to get paid, get protected, and get smart, while still making work that feels alive.
And she wants the vibe to mean something.
A Festival Childhood That Wired Her Musical DNA
If you want to understand Galexi’s sound, start in Humboldt County, where cannabis, music, and community aren’t separate lanes. They overlap. They raise you.
“Reggae on the River specifically has the biggest hold on my family and my heart,” she said. “My parents actually met at Reggae on the River. I was conceived at Reggae on the River.”
For her, that festival was not just a lineup. It was family history, annual reunion, and economic engine all at once.
“That was the place that every single year you’re seeing all of the friends that you make throughout the years and all my family,” she said. It also brought real money into the region: “Huge community aspect and also a huge economic boost in August.”
Her mother worked at directing traffic at the festival. The family got paid. They got access. They got stories that stick. “It put money in my mom’s pocket when she’s working traffic,” Galexi said, “and not only are we getting free tickets, but she’s getting paid for her work.”
Those details matter because they explain why she still cares about the ethics of “culture.” In her view, festivals weren’t just parties. They were local ecosystems.
“My family’s been employed by Mateel and People’s Productions for up to 35 years now,” she said. She remembers being a kid there, moving freely but never being unsafe. “I was a kid running around Reggae on the River with no parental control and fully safe.”
She could roam because the community did what real communities do: it watches out.
“There was a community of people that were watching me,” she said, naming the familiar faces she saw year after year. “Whether it was Marjorie Brown painting on stage, whether it was Rainbow, head of traffic, whether it was Peter, head of security… There were always eyes on me.”
That feeling became part of her musical wiring. It also became her bar for what a good event should feel like.
