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"title": "A Hip-Hop-Heavy Blue Note Jazz Festival Celebrates the Spiritual Lineage of Black Music",
"headTitle": "A Hip-Hop-Heavy Blue Note Jazz Festival Celebrates the Spiritual Lineage of Black Music | KQED",
"content": "\u003cp>Sunday evening, as the moon rose over the peach-colored Napa sky, Blue Note Jazz Festival artist-in-resident Robert Glasper got carried away in the music. His band was in the pocket, and Bilal had just demonstrated his formidable vocal range, improvising with Lalah Hathaway. Up next, Rakim took the stage. After dropping a couple verses, the legendary MC almost walked off and called it a night — until host Dave Chappelle beckoned him back by rapping a few of Rakim’s lyrics.\u003c/p>\n\u003cp>Rakim performed a soulful rendition of “Paid in Full,” but when he finished rapping, the band didn’t stop. The wine and good vibes were flowing, and more artists spontaneously emerged from backstage. Chance the Rapper, due to headline the festival in half an hour, came up to pay respects to Rakim, who \u003ca href=\"https://www.instagram.com/p/CoUjI38ADbo/\">paved the way\u003c/a>. Meeting for what seemed like the first time, they traded verses — and were soon joined by Vic Mensa, Talib Kweli and De La Soul’s Maseo, who gave Rakim a heartfelt salute. It felt like a history-making moment: three generations of MCs in a positive feedback loop of mutual appreciation, with a masterful band playing classic beats live.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" 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-002-800x533.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, 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\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\u003cp>A powerful celebration of this spiritual, life-affirming musical lineage connected many of the artists at Blue Note. “I make Black American music, which is an amalgamation of rhythm, beautiful harmony, church and, you know, melodies that speak to your soul,” Meshell Ndegeocello told my colleague Eric Arnold backstage. She could’ve been describing any number of the artists at the festival, whose individual styles are leaves and branches of the same tree.\u003c/p>\n\u003cp>“It sounds corny, but when I’m on stage and I’m immersed in the music, it’s the only time I am freed of that inner dialogue about my gender and my race,” Ndegeocello continued. “It’s the only time I just feel at one with others.”\u003c/p>\n\u003cfigure id=\"attachment_13932301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop is ‘one of the few things that is able to bridge the diaspora,’ Gabrielle Union told KQED’s Eric Arnold backstage at Blue Note Jazz Festival. ‘And any time you start to bring people together and so they could realize their true power, that’s going to be dangerous and controversial.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling of oneness was underscored by the occasion of hip-hop’s 50th anniversary, and many at the festival looked back at how far the culture has come. “I’m glad to be part of it, and I’m a teacher,” Madlib humbly reflected to Arnold. “Youngins are coming after me. That’s all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout Blue Note, which took place July 28–30 at its new home, Silverado Resort in Napa, fans and artists alike showed each other heartfelt love and gratitude for these collective moments. Our team spent the weekend at the festival, and here’s what we saw. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ari-Lennox-6-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Blue Note Jazz Festival on July 28, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ari Lennox’s earnest reflections on love\u003c/h2>\n\u003cp>Demigoddess of soulful and sexy R&B Ari Lennox brought a lively eroticism to her set. Her dreamy vocals in “Whipped Cream,” a neo-soul ballad from her 2019 album \u003ci>Shea Butter Baby,\u003c/i> entranced the crowd — who fanned themselves profusely from the heat, Lennox’s raw sensuality, or both. Her stirring performance of “New Apartment” was a welcome anthem about independence and self-love. “Waste My Time,” a wry and bumping inclusion, was a reminder of her narrative range, which ended with a contemptuous “boy byeeeee!” And equally unforgettable was her citrusy orange lace corset and wrap skirt, which matched her backup singers’ monochromatic fits — orange headscarves, berets, knitwear.\u003c/p>\n\u003cp>Gloriously sensual hits like “Stop By” dominated her set, but Lennox sees her music moving in a tender direction, while staying true to her sensuality. Backstage, she said, “My music’s always going to be sexy because that’s innate to me, but I also see it going towards love. Love — I feel like I haven’t experienced it in a romantic way, so if I find love one day, it would be cool to talk about it.”\u003c/p>\n\u003cfigure id=\"attachment_13932315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s not the only new, loving relationship Lennox is looking for. “I want a cat,” she said, laughing. “I grew up with a cat, but it didn’t like me, so we didn’t have a great relationship.”\u003c/p>\n\u003cp>On stage, her earnest dialogue with the crowd — which included Lennox divulging her latest dating app match with a “Chicago boy” — was a hopeful turn from her announcement on Twitter in December that her “age/sex/location” tour would be her last. That Tweet has since been deleted, and Lennox released her single “My Phone Can Die” in May. Her vulnerability and intimacy with the festival crowd felt like a reassurance that she’ll be gracing us with her presence for a while longer.\u003c/p>\n\u003cp>Also reassuring were even more reflections on where she sees her music going. “I would say it’s just soulful — it’s continuing to be myself,” she said. “It’s R&B in a space where I’m welcoming that alternative quirky side and putting myself back into my music.” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul and Talib Kweli perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Robert Glasper and De La Soul share a moment of gratitude\u003c/h2>\n\u003cp>Robert Glasper’s performance with De La Soul and several interjections by artists like saxophonist Terrace Martin and Parliament-Funkadelic’s legendary George Clinton was an obvious hit of the day, pulling a large, energetic and intergenerational crowd. Glasper delivered a rousing keyboard solo that only lulled slightly when Dave Chappelle approached, whispered something into Glasper’s ear, and the two erupted into laughter.\u003c/p>\n\u003cp>“This is like seeing Jackie Chan and Bruce Lee in a bar fight,” Chappelle quipped when The Roots member James Poyser joined Glasper at the keyboards. Chappelle got additional laughs when he mimed stroking the keys, lips pursed around a cigarette, while Poyser played for real behind him.\u003c/p>\n\u003cfigure id=\"attachment_13932302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Soul and Glasper’s set roared to life from the get-go and was relentless to the end. From “Into the Woods” off De La Soul’s 1994 album \u003cem>Buhloone Mindstate\u003c/em> to “Rock Co.Kane Flow,” De La Soul had the crowd firmly in their grasp. The artists stopped dramatically mid-flow, Poyser’s hand hovering over the keyboard and Kelvin Mercer collapsed on the stage only to spring back to life and double down on the beat. “Louder!” Mercer yelled into the audience during “Stakes is High,” and received a robust response.\u003c/p>\n\u003cp>Mercer noted his respect for the turnout: “Oh shit, it’s a bunch of Black people,” he said. “They’re well established, and they’re chilling.” The presence of other cultural icons like Gabrielle Union, Dwyane Wade and Chris Paul in the crowd lent emphasis to his point. “This right here is the culture,” shouted Wade, his arm over Paul.\u003c/p>\n\u003cfigure id=\"attachment_13932361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Mason of De La Soul at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mercer, wearing a black “Stakes Is High” tee, took a moment during the performance to speak on the emotional stakes of De La Soul’s hugely influential discography. “Don’t be afraid of your age — we made it,” he said, making references to the group’s songs about friends who died young, including De La Soul’s late member Trugoy the Dove, who died earlier this year.\u003c/p>\n\u003cp>Mercer also talked about the significance of hip-hop’s 50th anniversary, saying, “Hip Hop is a feeling — the veins of it is a feeling — and we’ve been blessed as De La Soul to make songs that give us that feeling.” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digable Planets perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Digable Planets reimagine ‘Reachin” with jazz\u003c/h2>\n\u003cp>In a troubled world, Digable Planets’ \u003ci>Reachin’ (A Refutation of Time and Space)\u003c/i> is a sunbeam of goodness. And it just so happens that the trio celebrates their 1993 debut album’s 30th birthday during the golden anniversary of hip-hop culture. The group’s Saturday afternoon Blue Note set felt like an especially auspicious occasion as they performed new versions of classics like “Rebirth of Slick (Cool Like Dat),” “Jettin’” and “Nickel Bags.”\u003c/p>\n\u003cfigure id=\"attachment_13932348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariana Ladybug Mecca Vieira of Digable Planets performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planets built their vibey sound with samples from Herbie Hancock and Parliament-Funkadelic, and their mega-talented live band (led by guitarist Thaddeus Turner, with rising star Kassa Overall on drums) gave the music new, shimmering dimensions. Butterfly, Ladybug Mecca and Doodlebug were crisp, refined and funky as ever, allowing us to rediscover the Brooklyn of their imaginations with eyes full of awe and wonder. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yussef Dayes performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rising London star makes his mark\u003c/h2>\n\u003cp>A journey to the smaller, out-of-the-way Blue Note stage on Saturday proved well worth it for Yussef Dayes’ golden-hour set. The percussion wizard, a star of London’s lauded jazz scene, was perched atop an elaborate drum kit at center stage, speaking to the crowd through rhythm. Dayes played his drums with such finesse that they sounded almost like melodic instruments: at different points throughout his set, his drums sang and whispered invitations to groove to the fusion of Afro-diasporic rhythms.\u003c/p>\n\u003cfigure id=\"attachment_13932352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello watches Yussef Dayes perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The potent jazz, funk, soul and drum’n’bass fusion that Dayes’ band concocted on stage sounded deceptively laid back, belying each person’s incredible skill. Piano player Elijah Fox (a rising star himself who was recently featured on Kali Uchis’ latest album and sampled by Drake) seemed possessed by the groove, shifting the mood from romantic and cinematic to psychedelically otherworldly, with bassist Rocco Palladino’s deep grooves anchoring his explorations. Meshell Ndegeocello, who performed a heartfelt, vocal-driven set earlier in the afternoon, stood on the side of the stage the whole show, raising her hands in praise and losing herself in the music. Like the rest of us in the audience, she didn’t stop smiling. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nas performs at Blue Note Jazz Festival on July 29, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Straight out the dungeons of rap’\u003c/h2>\n\u003cp>Considering he’s written some of the most memorable bars in rap history, Saturday’s headliner, Nas, didn’t need pomp and circumstance to impress. As he traveled through his decades-long catalog, he gave the people what they wanted, focusing heavily on his mid-’90s \u003ci>Illmatic\u003c/i> era, and transporting us into a Queensbridge childhood that continues to be his wellspring of inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13932320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nas headlines night two of Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nas arrived looking casual in black Air Forces and a tracksuit, but he conveyed a regal aura. With a minimal three-piece band, DJ and backing vocalist, he rapped with a searing precision, reminding us why he’s motivated generations of MCs to put pen to rhyme book. As he delivered hard-edged verses about a cutthroat world of street intrigues, his stoic demeanor at times would crack, revealing a dimpled smile each time he felt the magnitude of tens of thousands of cheers. The intergenerational audience was feeling themselves, yelling the words, and dancing along to his more club-oriented 2000s hits, each person time-traveling to the first time they were moved by this once-in-a-generation street poet.\u003cem> —Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"A young drummer and pianist perform in front of a purple and blue backdrop. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Domi and JD Beck perform at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Newcomers DOMi and JD Beck win over the crowd\u003c/h2>\n\u003cp>Plenty of newness has infused jazz in the past decade, but DOMi and JD Beck are particularly special outliers. Mixing the sounds of Weather Report and Squarepusher with Drain Gang aesthetics, the keyboard/drums duo on Sunday afternoon seemed to know their uphill battle in winning over the crowd. (Announcing a mid-set medley, Beck quipped that “nobody asked and nobody cares, so we’re just gonna play it.”) By the end of the set, though, after a tribute to Wayne Shorter (“Endangered Species”) and their own dizzying material, they got a rousing ovation. To celebrate, DOMi said, “It’s time for some underage drinking!” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin (left) performs with his son Taylor McFerrin at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A family affair with Taylor McFerrin with Bobby McFerrin\u003c/h2>\n\u003cp>Near the end of his set with his father, Taylor began talking about Bobby McFerrin’s debut album, released when he was one year old. This led into a rendition of that album’s “Sightless Bird,” augmented onstage by Taylor’s sister, Madison. The family affair continued with Little Dragon’s “Twice,” done in a slow burning style by Taylor and Madison, which, for five minutes on a Sunday afternoon, hypnotized the rapt crowd. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Rakim-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rakim performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rakim and DJ Jazzy Jeff bring new life to classics\u003c/h2>\n\u003cp>Rakim isn’t a rapper so much as a vessel of the divine, and onstage, he tore through his set with his commanding, regal style. From opener “My Melody” to chiseled-in-stone classics like “I Ain’t No Joke,” “Microphone Fiend” and “Move the Crowd,” Rakim had one of hip-hop’s greatest DJs on hand for spontaneous segues and remixes. (As a clear upgrade from Rakim’s original DJ Eric B., Jazzy Jeff proved his skills with a furious scratch breakdown of L.L. Cool J’s “Rock the Bells.”) Singalongs were constant; shout out to superfan Adam Frazier from Sacramento, who recited and acted out every single word of Rakim’s set from the second row. Near the end, an a capella “Follow the Leader” led into closer “Paid in Full,” with Rakim’s timeless verse joined by horns and percussion from the Soul Rebels. A flawless hour. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932377\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"Anderson .Paak poses back stage wearing a pink suit, no shirt and a giant fur hat. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak backstage at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dance party on stage for NxWorries\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>From the beginning of his set, Anderson .Paak leaned hard into his over-styled ladies-man persona: “All the ladies with the good pussy make some noise!” he shouted. Later he pleaded to “throw some bras on stage, make me feel like Drake,” and, eventually, simply invited a group of women from the crowd to dance on stage. In a massive fur hat and pink shirtless suit, and with songs like “Kutless” and “What More Can I Say,” .Paak’s alter-ego schtick was as effective as it was popular with the Blue Note crowd: on a side stage at the other end of the festival, Madlib’s DJ set only drew about 80 people. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"Anderson .Paak smiles and dances with a female fan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NxWorries perform at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper headlines night three of Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932335\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib, Digable Planets and friends backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ishmael Butterfly Butler (left) and Madlib hug backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932334\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Chappelle backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Jazzy Jeff performs at Blue Note Jazz Festival on July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul performs at Blue Note Jazz Festival July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige headlines night one of Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige headlines night one of Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli backstage at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Chappelle (left) and Robert Glasper introduce De La Soul at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parliament Funkadelic perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seales backstage at Blue Note Jazz Festival on Saturday July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cordae performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932331\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ The Chicago Kid performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor McFerrin performs at Blue Note Jazz Festival on July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Mary J. Blige, Nas, Rakim, Chance the Rapper, Digable Planets, Madlib and more performed at the second-annual festival, led by Robert Glasper.",
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"twTitle": "Review and Photos: The Blue Note Jazz Festival Celebrates the Spiritual Lineage of Black Music",
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"title": "Review and Photos: Blue Note Jazz Festival in Napa | KQED",
"ogDescription": "Mary J. Blige, Nas, Rakim, Chance the Rapper, Digable Planets, Madlib and more performed at the second-annual festival, led by Robert Glasper.",
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"headline": "A Hip-Hop-Heavy Blue Note Jazz Festival Celebrates the Spiritual Lineage of Black Music",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday evening, as the moon rose over the peach-colored Napa sky, Blue Note Jazz Festival artist-in-resident Robert Glasper got carried away in the music. His band was in the pocket, and Bilal had just demonstrated his formidable vocal range, improvising with Lalah Hathaway. Up next, Rakim took the stage. After dropping a couple verses, the legendary MC almost walked off and called it a night — until host Dave Chappelle beckoned him back by rapping a few of Rakim’s lyrics.\u003c/p>\n\u003cp>Rakim performed a soulful rendition of “Paid in Full,” but when he finished rapping, the band didn’t stop. The wine and good vibes were flowing, and more artists spontaneously emerged from backstage. Chance the Rapper, due to headline the festival in half an hour, came up to pay respects to Rakim, who \u003ca href=\"https://www.instagram.com/p/CoUjI38ADbo/\">paved the way\u003c/a>. Meeting for what seemed like the first time, they traded verses — and were soon joined by Vic Mensa, Talib Kweli and De La Soul’s Maseo, who gave Rakim a heartfelt salute. It felt like a history-making moment: three generations of MCs in a positive feedback loop of mutual appreciation, with a masterful band playing classic beats live.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" 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-002-800x533.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, 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\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\u003cp>A powerful celebration of this spiritual, life-affirming musical lineage connected many of the artists at Blue Note. “I make Black American music, which is an amalgamation of rhythm, beautiful harmony, church and, you know, melodies that speak to your soul,” Meshell Ndegeocello told my colleague Eric Arnold backstage. She could’ve been describing any number of the artists at the festival, whose individual styles are leaves and branches of the same tree.\u003c/p>\n\u003cp>“It sounds corny, but when I’m on stage and I’m immersed in the music, it’s the only time I am freed of that inner dialogue about my gender and my race,” Ndegeocello continued. “It’s the only time I just feel at one with others.”\u003c/p>\n\u003cfigure id=\"attachment_13932301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Gabrielle-Union-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop is ‘one of the few things that is able to bridge the diaspora,’ Gabrielle Union told KQED’s Eric Arnold backstage at Blue Note Jazz Festival. ‘And any time you start to bring people together and so they could realize their true power, that’s going to be dangerous and controversial.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling of oneness was underscored by the occasion of hip-hop’s 50th anniversary, and many at the festival looked back at how far the culture has come. “I’m glad to be part of it, and I’m a teacher,” Madlib humbly reflected to Arnold. “Youngins are coming after me. That’s all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout Blue Note, which took place July 28–30 at its new home, Silverado Resort in Napa, fans and artists alike showed each other heartfelt love and gratitude for these collective moments. Our team spent the weekend at the festival, and here’s what we saw. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ari-Lennox-6-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-6-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Blue Note Jazz Festival on July 28, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ari Lennox’s earnest reflections on love\u003c/h2>\n\u003cp>Demigoddess of soulful and sexy R&B Ari Lennox brought a lively eroticism to her set. Her dreamy vocals in “Whipped Cream,” a neo-soul ballad from her 2019 album \u003ci>Shea Butter Baby,\u003c/i> entranced the crowd — who fanned themselves profusely from the heat, Lennox’s raw sensuality, or both. Her stirring performance of “New Apartment” was a welcome anthem about independence and self-love. “Waste My Time,” a wry and bumping inclusion, was a reminder of her narrative range, which ended with a contemptuous “boy byeeeee!” And equally unforgettable was her citrusy orange lace corset and wrap skirt, which matched her backup singers’ monochromatic fits — orange headscarves, berets, knitwear.\u003c/p>\n\u003cp>Gloriously sensual hits like “Stop By” dominated her set, but Lennox sees her music moving in a tender direction, while staying true to her sensuality. Backstage, she said, “My music’s always going to be sexy because that’s innate to me, but I also see it going towards love. Love — I feel like I haven’t experienced it in a romantic way, so if I find love one day, it would be cool to talk about it.”\u003c/p>\n\u003cfigure id=\"attachment_13932315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ari-Lennox-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s not the only new, loving relationship Lennox is looking for. “I want a cat,” she said, laughing. “I grew up with a cat, but it didn’t like me, so we didn’t have a great relationship.”\u003c/p>\n\u003cp>On stage, her earnest dialogue with the crowd — which included Lennox divulging her latest dating app match with a “Chicago boy” — was a hopeful turn from her announcement on Twitter in December that her “age/sex/location” tour would be her last. That Tweet has since been deleted, and Lennox released her single “My Phone Can Die” in May. Her vulnerability and intimacy with the festival crowd felt like a reassurance that she’ll be gracing us with her presence for a while longer.\u003c/p>\n\u003cp>Also reassuring were even more reflections on where she sees her music going. “I would say it’s just soulful — it’s continuing to be myself,” she said. “It’s R&B in a space where I’m welcoming that alternative quirky side and putting myself back into my music.” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-and-Talib-Kweli-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul and Talib Kweli perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Robert Glasper and De La Soul share a moment of gratitude\u003c/h2>\n\u003cp>Robert Glasper’s performance with De La Soul and several interjections by artists like saxophonist Terrace Martin and Parliament-Funkadelic’s legendary George Clinton was an obvious hit of the day, pulling a large, energetic and intergenerational crowd. Glasper delivered a rousing keyboard solo that only lulled slightly when Dave Chappelle approached, whispered something into Glasper’s ear, and the two erupted into laughter.\u003c/p>\n\u003cp>“This is like seeing Jackie Chan and Bruce Lee in a bar fight,” Chappelle quipped when The Roots member James Poyser joined Glasper at the keyboards. Chappelle got additional laughs when he mimed stroking the keys, lips pursed around a cigarette, while Poyser played for real behind him.\u003c/p>\n\u003cfigure id=\"attachment_13932302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Soul and Glasper’s set roared to life from the get-go and was relentless to the end. From “Into the Woods” off De La Soul’s 1994 album \u003cem>Buhloone Mindstate\u003c/em> to “Rock Co.Kane Flow,” De La Soul had the crowd firmly in their grasp. The artists stopped dramatically mid-flow, Poyser’s hand hovering over the keyboard and Kelvin Mercer collapsed on the stage only to spring back to life and double down on the beat. “Louder!” Mercer yelled into the audience during “Stakes is High,” and received a robust response.\u003c/p>\n\u003cp>Mercer noted his respect for the turnout: “Oh shit, it’s a bunch of Black people,” he said. “They’re well established, and they’re chilling.” The presence of other cultural icons like Gabrielle Union, Dwyane Wade and Chris Paul in the crowd lent emphasis to his point. “This right here is the culture,” shouted Wade, his arm over Paul.\u003c/p>\n\u003cfigure id=\"attachment_13932361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Vincent-Mason-of-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Mason of De La Soul at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mercer, wearing a black “Stakes Is High” tee, took a moment during the performance to speak on the emotional stakes of De La Soul’s hugely influential discography. “Don’t be afraid of your age — we made it,” he said, making references to the group’s songs about friends who died young, including De La Soul’s late member Trugoy the Dove, who died earlier this year.\u003c/p>\n\u003cp>Mercer also talked about the significance of hip-hop’s 50th anniversary, saying, “Hip Hop is a feeling — the veins of it is a feeling — and we’ve been blessed as De La Soul to make songs that give us that feeling.” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digable Planets perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Digable Planets reimagine ‘Reachin” with jazz\u003c/h2>\n\u003cp>In a troubled world, Digable Planets’ \u003ci>Reachin’ (A Refutation of Time and Space)\u003c/i> is a sunbeam of goodness. And it just so happens that the trio celebrates their 1993 debut album’s 30th birthday during the golden anniversary of hip-hop culture. The group’s Saturday afternoon Blue Note set felt like an especially auspicious occasion as they performed new versions of classics like “Rebirth of Slick (Cool Like Dat),” “Jettin’” and “Nickel Bags.”\u003c/p>\n\u003cfigure id=\"attachment_13932348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mariana-22Ladybug-Mecca22-Vieira-of-Digable-Planets-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariana Ladybug Mecca Vieira of Digable Planets performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planets built their vibey sound with samples from Herbie Hancock and Parliament-Funkadelic, and their mega-talented live band (led by guitarist Thaddeus Turner, with rising star Kassa Overall on drums) gave the music new, shimmering dimensions. Butterfly, Ladybug Mecca and Doodlebug were crisp, refined and funky as ever, allowing us to rediscover the Brooklyn of their imaginations with eyes full of awe and wonder. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Yussef-Dayes-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yussef Dayes performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rising London star makes his mark\u003c/h2>\n\u003cp>A journey to the smaller, out-of-the-way Blue Note stage on Saturday proved well worth it for Yussef Dayes’ golden-hour set. The percussion wizard, a star of London’s lauded jazz scene, was perched atop an elaborate drum kit at center stage, speaking to the crowd through rhythm. Dayes played his drums with such finesse that they sounded almost like melodic instruments: at different points throughout his set, his drums sang and whispered invitations to groove to the fusion of Afro-diasporic rhythms.\u003c/p>\n\u003cfigure id=\"attachment_13932352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Meshell-Ndegeocello-watches-Yussef-Dayes-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello watches Yussef Dayes perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The potent jazz, funk, soul and drum’n’bass fusion that Dayes’ band concocted on stage sounded deceptively laid back, belying each person’s incredible skill. Piano player Elijah Fox (a rising star himself who was recently featured on Kali Uchis’ latest album and sampled by Drake) seemed possessed by the groove, shifting the mood from romantic and cinematic to psychedelically otherworldly, with bassist Rocco Palladino’s deep grooves anchoring his explorations. Meshell Ndegeocello, who performed a heartfelt, vocal-driven set earlier in the afternoon, stood on the side of the stage the whole show, raising her hands in praise and losing herself in the music. Like the rest of us in the audience, she didn’t stop smiling. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-3-scaled-e1690842227333.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nas performs at Blue Note Jazz Festival on July 29, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Straight out the dungeons of rap’\u003c/h2>\n\u003cp>Considering he’s written some of the most memorable bars in rap history, Saturday’s headliner, Nas, didn’t need pomp and circumstance to impress. As he traveled through his decades-long catalog, he gave the people what they wanted, focusing heavily on his mid-’90s \u003ci>Illmatic\u003c/i> era, and transporting us into a Queensbridge childhood that continues to be his wellspring of inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13932320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Nas-headlines-night-two-of-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nas headlines night two of Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nas arrived looking casual in black Air Forces and a tracksuit, but he conveyed a regal aura. With a minimal three-piece band, DJ and backing vocalist, he rapped with a searing precision, reminding us why he’s motivated generations of MCs to put pen to rhyme book. As he delivered hard-edged verses about a cutthroat world of street intrigues, his stoic demeanor at times would crack, revealing a dimpled smile each time he felt the magnitude of tens of thousands of cheers. The intergenerational audience was feeling themselves, yelling the words, and dancing along to his more club-oriented 2000s hits, each person time-traveling to the first time they were moved by this once-in-a-generation street poet.\u003cem> —Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"A young drummer and pianist perform in front of a purple and blue backdrop. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Domi-and-JD-Beck-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Domi and JD Beck perform at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Newcomers DOMi and JD Beck win over the crowd\u003c/h2>\n\u003cp>Plenty of newness has infused jazz in the past decade, but DOMi and JD Beck are particularly special outliers. Mixing the sounds of Weather Report and Squarepusher with Drain Gang aesthetics, the keyboard/drums duo on Sunday afternoon seemed to know their uphill battle in winning over the crowd. (Announcing a mid-set medley, Beck quipped that “nobody asked and nobody cares, so we’re just gonna play it.”) By the end of the set, though, after a tribute to Wayne Shorter (“Endangered Species”) and their own dizzying material, they got a rousing ovation. To celebrate, DOMi said, “It’s time for some underage drinking!” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Bobby-McFerrin-left-performs-with-his-son-Taylor-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin (left) performs with his son Taylor McFerrin at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A family affair with Taylor McFerrin with Bobby McFerrin\u003c/h2>\n\u003cp>Near the end of his set with his father, Taylor began talking about Bobby McFerrin’s debut album, released when he was one year old. This led into a rendition of that album’s “Sightless Bird,” augmented onstage by Taylor’s sister, Madison. The family affair continued with Little Dragon’s “Twice,” done in a slow burning style by Taylor and Madison, which, for five minutes on a Sunday afternoon, hypnotized the rapt crowd. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Rakim-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Rakim-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rakim performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rakim and DJ Jazzy Jeff bring new life to classics\u003c/h2>\n\u003cp>Rakim isn’t a rapper so much as a vessel of the divine, and onstage, he tore through his set with his commanding, regal style. From opener “My Melody” to chiseled-in-stone classics like “I Ain’t No Joke,” “Microphone Fiend” and “Move the Crowd,” Rakim had one of hip-hop’s greatest DJs on hand for spontaneous segues and remixes. (As a clear upgrade from Rakim’s original DJ Eric B., Jazzy Jeff proved his skills with a furious scratch breakdown of L.L. Cool J’s “Rock the Bells.”) Singalongs were constant; shout out to superfan Adam Frazier from Sacramento, who recited and acted out every single word of Rakim’s set from the second row. Near the end, an a capella “Follow the Leader” led into closer “Paid in Full,” with Rakim’s timeless verse joined by horns and percussion from the Soul Rebels. A flawless hour. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932377\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg\" alt=\"Anderson .Paak poses back stage wearing a pink suit, no shirt and a giant fur hat. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak backstage at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A dance party on stage for NxWorries\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the beginning of his set, Anderson .Paak leaned hard into his over-styled ladies-man persona: “All the ladies with the good pussy make some noise!” he shouted. Later he pleaded to “throw some bras on stage, make me feel like Drake,” and, eventually, simply invited a group of women from the crowd to dance on stage. In a massive fur hat and pink shirtless suit, and with songs like “Kutless” and “What More Can I Say,” .Paak’s alter-ego schtick was as effective as it was popular with the Blue Note crowd: on a side stage at the other end of the festival, Madlib’s DJ set only drew about 80 people. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13932386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"Anderson .Paak smiles and dances with a female fan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/NxWorries-perform-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NxWorries perform at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Chance-the-Rapper-headlines-night-three-of-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper headlines night three of Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932335\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Digable-Planets-and-friends-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib, Digable Planets and friends backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Ishmael-22Butter-Fly22-Butler-left-and-Madlib-hug-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ishmael Butterfly Butler (left) and Madlib hug backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932334\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.Estefany-Gonzalez0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Chappelle backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-2-scaled-e1690842665576.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Jazzy Jeff performs at Blue Note Jazz Festival on July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/De-La-Soul-_plugs-1-and-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De La Soul performs at Blue Note Jazz Festival July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/MonoNeon-performs-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MonoNeon performs at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige headlines night one of Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Mary-J.-Blige-headlines-night-one-of-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige headlines night one of Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Talib-Kweli-backstage-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli backstage at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Dave-Chappelle-left-and-Robert-Glasper-introduce-De-La-Soul-at-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Chappelle (left) and Robert Glasper introduce De La Soul at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Parliament-Funkadelic-perform-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parliament Funkadelic perform at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madlib-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madlib backstage at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-crowd-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Amanda-Seales-backstage-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seales backstage at Blue Note Jazz Festival on Saturday July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Cordae-performs-at-the-Blue-Note-Jazz-Festival-on-Friday-July-28-2023.-Estefany-Gonzalez003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cordae performs at Blue Note Jazz Festival on Friday, July 28, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932331\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/BJ-The-Chicago-Kid-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ The Chicago Kid performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Soul-Rebels-perform-at-Blue-Note-Jazz-Festival-on-Saturday-July-29-2023.-Estefany-Gonzalez-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13932453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Taylor-Mc-Ferrin-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor McFerrin performs at Blue Note Jazz Festival on July 30, 2023. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Kimchi Fried Rice Playlist on Spotify Teaches You How to Make the Dish",
"headTitle": "A Kimchi Fried Rice Playlist on Spotify Teaches You How to Make the Dish | KQED",
"content": "\u003cp>In today’s digital age, following a recipe from a book may seem pretty archaic. So if you’re not in the mood to read the ingredients and measurements, then a playlist might be for you.\u003c/p>\n\u003cp>[aside postid='arts_13914042']Noah Conk, a San Francisco-based designer, went to the effort of creating a curated playlist of his recipe for kimchi fried rice. The recipe is explained by a three-hour, 51-song playlist, with each song title describing a specific ingredient, measurement or instruction.\u003c/p>\n\u003cp>Some of the songs included are pretty general, like the first in the playlist: “Ingredients” by YNW Melly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2uQYUgqoew\u003c/p>\n\u003cp>Others are more specific, like “Unsalted Butter” by The Long Winters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V-fU3Djv_ns\u003c/p>\n\u003cp>And of course, some have key details to the cooking process, and veer on the ambient, like “Medium Heat” by Rain & Chocolate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fAPrYobIzpI\u003c/p>\n\u003cp>“I basically went through the search function of searching for the word that I needed,” Conk explained. Currently, the playlist boasts more than 4,000 likes on Spotify.\u003c/p>\n\u003cp>Some songs are addendums to the playlist, due to audience demand, like “Butter” by BTS.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WMweEpGlu_U\u003c/p>\n\u003cp>Conk had originally made the playlist \u003cem>without\u003c/em> the smash hit by the widely beloved K-Pop group. He soon realized his grave error: “I was like, how could I forget the ‘Butter’ song, in a kimchi fried rice recipe playlist?”\u003c/p>\n\u003cp>Conk picked kimchi fried rice because it’s a favorite comfort food of his.\u003c/p>\n\u003cp>[aside postid='arts_13915004']“Growing up,” he said, “I never really ate too much Korean food because I’m an adoptee,” he said. Reconnecting with his Korean roots in college, especially through food, allowed him to gain confidence in making his own recipe, inspired by YouTuber chef Chris Cho.\u003c/p>\n\u003cp>But his own preferences for the recipe also caused listeners to ask questions.\u003c/p>\n\u003cp>“They’re like, why unsalted butter?” Conk said. “It allows you to salt to taste. And the goal of butter is to bring out the subtle nuances of kimchi.”\u003c/p>\n\u003cp>After the instructions are through, listeners are greeted by Anderson .Paak’s “Winners Circle.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3tcbxVU6inM\u003c/p>\n\u003cp>“You made it to the end, and you’re in the winner’s circle,” Conk explained. “You’re part of this collective of people who can make kimchi fried rice from a playlist. And it’s also a subtle nod to Anderson .Paak being Korean.”\u003c/p>\n\u003cp>Regardless of whether they’re winners or not, they’ll certainly have a delicious bowl of food to groove out with. You can try it out for yourself with the playlist here:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aplaylist%3A2ZMYdEQsuj7AM6M2njdyL1\" width=\"100%\" height=\"380\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+kimchi+fried+rice+playlist+on+Spotify+teaches+you+how+to+make+the+dish&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A San Franciscan just made a three-hour, 51-song playlist of song titles explaining how to make kimchi fried rice. And it works!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In today’s digital age, following a recipe from a book may seem pretty archaic. So if you’re not in the mood to read the ingredients and measurements, then a playlist might be for you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Noah Conk, a San Francisco-based designer, went to the effort of creating a curated playlist of his recipe for kimchi fried rice. The recipe is explained by a three-hour, 51-song playlist, with each song title describing a specific ingredient, measurement or instruction.\u003c/p>\n\u003cp>Some of the songs included are pretty general, like the first in the playlist: “Ingredients” by YNW Melly.\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/b2uQYUgqoew'\n title='//www.youtube.com/embed/b2uQYUgqoew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Others are more specific, like “Unsalted Butter” by The Long Winters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/V-fU3Djv_ns'\n title='//www.youtube.com/embed/V-fU3Djv_ns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And of course, some have key details to the cooking process, and veer on the ambient, like “Medium Heat” by Rain & Chocolate.\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/fAPrYobIzpI'\n title='//www.youtube.com/embed/fAPrYobIzpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I basically went through the search function of searching for the word that I needed,” Conk explained. Currently, the playlist boasts more than 4,000 likes on Spotify.\u003c/p>\n\u003cp>Some songs are addendums to the playlist, due to audience demand, like “Butter” by BTS.\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/WMweEpGlu_U'\n title='//www.youtube.com/embed/WMweEpGlu_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conk had originally made the playlist \u003cem>without\u003c/em> the smash hit by the widely beloved K-Pop group. He soon realized his grave error: “I was like, how could I forget the ‘Butter’ song, in a kimchi fried rice recipe playlist?”\u003c/p>\n\u003cp>Conk picked kimchi fried rice because it’s a favorite comfort food of his.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Growing up,” he said, “I never really ate too much Korean food because I’m an adoptee,” he said. Reconnecting with his Korean roots in college, especially through food, allowed him to gain confidence in making his own recipe, inspired by YouTuber chef Chris Cho.\u003c/p>\n\u003cp>But his own preferences for the recipe also caused listeners to ask questions.\u003c/p>\n\u003cp>“They’re like, why unsalted butter?” Conk said. “It allows you to salt to taste. And the goal of butter is to bring out the subtle nuances of kimchi.”\u003c/p>\n\u003cp>After the instructions are through, listeners are greeted by Anderson .Paak’s “Winners Circle.”\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/3tcbxVU6inM'\n title='//www.youtube.com/embed/3tcbxVU6inM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You made it to the end, and you’re in the winner’s circle,” Conk explained. “You’re part of this collective of people who can make kimchi fried rice from a playlist. And it’s also a subtle nod to Anderson .Paak being Korean.”\u003c/p>\n\u003cp>Regardless of whether they’re winners or not, they’ll certainly have a delicious bowl of food to groove out with. You can try it out for yourself with the playlist here:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aplaylist%3A2ZMYdEQsuj7AM6M2njdyL1\" width=\"100%\" height=\"380\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+kimchi+fried+rice+playlist+on+Spotify+teaches+you+how+to+make+the+dish&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly.",
"headTitle": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly. | KQED",
"content": "\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>[aside postID='arts_13831858']For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>[aside postID='arts_11625922']If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-pandemic-the-protests-and-the-police-songs-of-the-summer-2020",
"title": "The Pandemic, the Protests and the Police: Songs of the Summer 2020",
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"headTitle": "The Pandemic, the Protests and the Police: Songs of the Summer 2020 | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t tell you if it’s music for the movement, music for “the moment,” or just music to make money. But I can tell you artists have been working. And I’ve been listening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Between the COVID-19 pandemic, the nationwide protests and the push for defunding the police, a wave of songs has arrived, all of them documenting the beginning of summertime in 2020.\u003c/p>\n\u003cp>Last week, Beyoncé released the track “\u003ca href=\"https://www.youtube.com/watch?v=EJT1m1ele00\">Black Parade\u003c/a>,” a lil’ southern flavor to accompany the Juneteenth holiday. Queen B doubled down on its message of Black empowerment by teaming up with stylist Zerina Akers, who runs the \u003ca href=\"https://www.instagram.com/p/CBn6B4iFkNr/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">@black.owned.everything\u003c/a> page, to create a Black business directory called the \u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Parade Route\u003c/a>.\u003c/p>\n\u003cp>J. Cole and Noname had a back-and-forth, during which Cole dropped “\u003ca href=\"https://www.youtube.com/watch?v=OZa3HyVLimQ\">Snow On The Bluff\u003c/a>,” a call for Noname to make her message accessible to the masses. Noname responded with “\u003ca href=\"https://www.youtube.com/watch?v=NFp1eW2bihg\">Song 33\u003c/a>,” a track that pretty much asked J. Cole why he was rapping about her, asking her to change her “tone,” when there are far more important issues to be addressed.\u003c/p>\n\u003cp>In the past month, \u003ca href=\"https://www.youtube.com/watch?v=_VDGysJGNoI\">Lil Baby\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Z5HN-4396Jo\">Tee Grizzley\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DWZkjXCU-ds\">Trey Songz\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ramteyfi9bE\">YG\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=JUnc3kl0DcA\">Meek Mill\u003c/a> all dropped songs about police brutality and systematic racism. Wale released a six-song EP, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLHzeg4D5T9v4peshRjOitaZVT9N05Kt2f&src=Linkfire&lId=747b96e4-d374-4dd3-8990-9a4dcab5c737&cId=d3d58fd7-4c47-11e6-9fd0-066c3e7a8751\">The Imperfect Storm\u003c/a>\u003c/em>, which covers those issues and more. DaBaby released a “Black Lives Matter Remix” to his chart-topping song “\u003ca href=\"https://www.youtube.com/watch?v=0Em5cZFocQ0&feature=emb_title\">Rockstar\u003c/a>” featuring Roddy Ricch.\u003c/p>\n\u003cp>And Anderson .Paak crossed off all the boxes on his “Summer Song 2020” bingo card—he put out a song called “\u003ca href=\"https://www.youtube.com/watch?v=TgItkJCm09c\">Lockdown\u003c/a>,” on Juneteenth, that managed to mention COVID, police brutality, looting, slavery, protests \u003cem>and\u003c/em> the unemployment rate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TgItkJCm09c\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">U\u003c/span>p here in the Bay Area, one of the most politically engaged and artistically inclined regions in the country, you already know artists have been getting active.\u003c/p>\n\u003cp>E-40’s new track “\u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\">Give Me 6\u003c/a>” is a musical request that suggests maintaining the proper physical distance for pandemic socializing. Oakland’s Damian Lillard dropped “\u003ca href=\"https://www.youtube.com/watch?v=J1wQ7_h824U\">Blacklist\u003c/a>,” a track about the racism he faces, even as a wealthy African American man. And Berkeley’s Rexx Life Raj released a single about police brutality simply called “\u003ca href=\"https://www.youtube.com/watch?v=VL4VLUSfwg8&feature=youtu.be\">War\u003c/a>”.\u003c/p>\n\u003cp>But it’s the artists who aren’t as popular who’ve really been talking that shit.\u003c/p>\n\u003cp>I saw Oakland’s \u003ca href=\"https://twitter.com/STSpittin\" target=\"_blank\" rel=\"noopener noreferrer\">ST Spittin’\u003c/a> in traffic recently, where he said he had something for me. His latest single “Huey P. Malcolm Martin” features a sample of Stevie Wonder’s “Visions”—and I was sold on it from the first note.\u003c/p>\n\u003cp>https://youtu.be/2VM99IYLF-I\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"https://twitter.com/NettaBrielle\" target=\"_blank\" rel=\"noopener noreferrer\">Netta Brielle\u003c/a> shifted the tempo with her new release, “\u003ca href=\"https://www.youtube.com/watch?v=AU-3Uea4PyI\">Get To You\u003c/a>,” a song that’s more about embracing love than protesting hate—a needed sentiment in these times. Another track using R&B to express emotion during tumult came from Oakland’s \u003ca href=\"https://twitter.com/TalyaPatrick\">Tai Marie\u003c/a>, who recently put out a soulful R&B single titled “\u003ca href=\"https://soundcloud.com/ttaimarie/war-zone\">Warzone\u003c/a>.”\u003c/p>\n\u003cp>Dipping her toes in the classical-piano realm is San Francisco’s \u003ca href=\"https://twitter.com/ImtheJournalist\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Ekeke\u003c/a>, who just put out the song “\u003ca href=\"https://www.instagram.com/p/CByayJUh8qs/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Modern War\u003c/a>.” She says the track is inspired by her upcoming film on African American contributions during WWII at one of the nation’s largest shipyards, right here in Marin. But the words she sings, in her trademark soprano tone, are eerily relevant to today.\u003c/p>\n\u003cp>From Sacramento, Rob Woods’ \u003cem>\u003ca href=\"https://soundcloud.com/therealrobwoods/sets/the-black-tape/s-7dyuknyLjtr\">The Black Tape\u003c/a>\u003c/em> mixes rap lyrics about hope and oppression over R&B vibes, and an undertone of that church feeling throughout the project. (He even incorporates a cold saxophone on the song “Stuck.”) And Pittsburg’s Hotboikal shot the video for “\u003ca href=\"https://www.youtube.com/watch?v=VO1dP7CMy78\" target=\"_blank\" rel=\"noopener noreferrer\">Hands Up, Man Down\u003c/a>” in the \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">middle of a protest march\u003c/a> in Santa Rosa, with lyrics about racial profiling and police brutality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VO1dP7CMy78\u003c/p>\n\u003cp>Sharing that sentiment is Richmond’s \u003ca href=\"https://twitter.com/WallahUmoja\">Wallah Umoja\u003c/a>, who dropped a new video for an older track, \u003ca href=\"https://open.spotify.com/album/7vbwGIkNzDs2PKryN9BFZ0?highlight=spotify:track:3ZPM9hdhw42oKotLM4Zc2N\">Senses\u003c/a>, delivered in a boom-bap cadence. Following that flow is Dom Shalom’s “\u003ca href=\"https://open.spotify.com/album/7HmoIXj4Z0GQhNXdqqrj19?si=FgqfUqSgRDiZnmo79Tx-FA\">The Next\u003c/a>,” a chill vibe that I’d also describe as boom-bap rap.\u003c/p>\n\u003cp>And if you like music that bends genres, Oakland’s Dom Jones came through with soulful jazz-rock for the spirit. Her latest track “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/sayin-nothin\" target=\"_blank\" rel=\"noopener noreferrer\">Sayin’ Nothin’\u003c/a>” is the stuff movie soundtracks are made of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking of movies, the content in Nicholas Easter’s “\u003ca href=\"https://www.youtube.com/watch?v=fKDyDBIOjhs&feature=youtu.be&fbclid=IwAR1AhAh620HVoEkRP5kgQAgHRIl67PQlv0gQ-B_58KHGMhC-ZvWfjerpwog\">Native Tongue\u003c/a>” video isn’t a song as much as it is a compilation of speeches and interviews from the civil rights era to today’s Black Lives Matter movement—featuring the likes of Maya Angelou, Ryan Coogler and Tupac, all layered on top of modern-day footage.\u003c/p>\n\u003cp>Want more spoken-word quotes? \u003ca href=\"https://twitter.com/ClifSoulo\" target=\"_blank\" rel=\"noopener noreferrer\">Clif Soulo\u003c/a> offers a new release titled \u003cem>\u003ca href=\"https://soundcloud.com/clifsoulo/sets/bunchy-carter-grooves/s-YAJYJ0GJAOY\" target=\"_blank\" rel=\"noopener noreferrer\">Bunchy Carter Grooves\u003c/a> \u003c/em>that’s full of clips from interviews with former members of the Black Panther Party.\u003c/p>\n\u003cp>Want something more militant? Oakland’s \u003ca href=\"https://twitter.com/BeastellaAllDat\">Beastella\u003c/a> got a verse from Jay Jonah, and dropped “\u003ca href=\"https://www.youtube.com/watch?v=Snbr-qCpxjY&feature=youtu.be&fbclid=IwAR3PK1zW-v_0moh9V2MUE6rTuIIze6fyTQ15NGdcdCzHgb-QacprRGPR1gs\">1825\u003c/a>.” The track is up there with the most aggressive songs I’ve heard all month, and I’m here for it. As Jay Jonah says on the track: “She Harriet and I’m Nat,” comparing the duo to well-known abolitionist Harriet Tubman and rebellion leader Nat Turner.\u003c/p>\n\u003cp>https://youtu.be/Snbr-qCpxjY\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o yeah, I’ve been listening. I caught the a capella \u003ca href=\"https://twitter.com/caseycopesodope/status/1270886631994613762?s=20\">Twitter\u003c/a> post from San Leandro’s Casey Cope about being a Black man in these times, and I slapped Oaktownsoul’s trippy-hop bass-heavy joint “\u003ca href=\"https://soundcloud.com/oaktownsoul/maskup\">Mask Up\u003c/a>.” I soaked in Gina Madrid’s “\u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=2NYtB9g8VrE&feature=emb_title\">Dame La Mano\u003c/a>” and was reminded the need for unity across different demographics. And through Coco Peila’s track “\u003ca href=\"https://soundcloud.com/cocopeilamusic/coco-peila-whose-world-greennewdeal-prod-hawk-beatz/s-N5s69FMW0Gj\" target=\"_blank\" rel=\"noopener noreferrer\">Whose World?\u003c/a>” I was reminded that in the midst of everything, global warming is still an issue.\u003c/p>\n\u003cp>I listened to Redtone Records’ “\u003ca href=\"https://www.youtube.com/watch?v=8TQuiigys6I&feature=youtu.be&fbclid=IwAR0Gf4iyMU8EYVPksCnr7TP84x8d8WBh-MMVKR3AiiMe4a3mVaVg5QUoWIs\">Right Now\u003c/a>!,” a bouncy jazz track with some New Orleans flavor, out of East Palo Alto. Man, I even listened to \u003ca href=\"https://www.youtube.com/watch?v=6wGk8jZQfQ8&feature=youtu.be&fbclid=IwAR1EBRQ0yc2ZFzL-vonhWVVnsEaITwp8eQtrZ-pkDCnY0fKhu0w-Upn_ZlQ\">We Will Break Free, \u003c/a>written by Byron Au Yong and Aaron Jafferis and performed by an acoustic ensemble over videoconferencing:\u003c/p>\n\u003cblockquote>\u003cp>A body isn’t made for a jail, or a box.\u003cbr>\nA body will defy all the fences, all the locks.\u003cbr>\nWe will break the walls that lock us into cells.\u003cbr>\nWe will break the laws that keep us from ourselves.\u003cbr>\nWe will break free.\u003c/p>\u003c/blockquote>\n\u003cp>Taking in all these songs was like reading reports from a classroom full of students who all got the same assignment. There was no wrong answer. In fact, the only wrong would be \u003cem>not\u003c/em> saying something.\u003c/p>\n\u003cp>Chances are, the real “song of the summer”—dubbed so by the music industry itself—will probably be a pop hit. (I’ve got $10 on something that incorporates that \u003ca href=\"https://www.youtube.com/watch?v=TH_gfaiStm0&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Harry remix\u003c/a>.)\u003c/p>\n\u003cp>It likely won’t be a protest song, or a song of Black celebration, and for sure not Black liberation.\u003c/p>\n\u003cp>In spite of that, there are many artists, all across this nation, making music that documents what it means to be living right now.\u003c/p>\n\u003cp>I hear ya’ll.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "The Pandemic, the Protests and the Police: Songs of the Summer 2020 | KQED",
"description": "The 'Song of the Summer' will probably be some pop hit—but here are the songs really saying something.",
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"headline": "The Pandemic, the Protests and the Police: Songs of the Summer 2020",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t tell you if it’s music for the movement, music for “the moment,” or just music to make money. But I can tell you artists have been working. And I’ve been listening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Between the COVID-19 pandemic, the nationwide protests and the push for defunding the police, a wave of songs has arrived, all of them documenting the beginning of summertime in 2020.\u003c/p>\n\u003cp>Last week, Beyoncé released the track “\u003ca href=\"https://www.youtube.com/watch?v=EJT1m1ele00\">Black Parade\u003c/a>,” a lil’ southern flavor to accompany the Juneteenth holiday. Queen B doubled down on its message of Black empowerment by teaming up with stylist Zerina Akers, who runs the \u003ca href=\"https://www.instagram.com/p/CBn6B4iFkNr/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">@black.owned.everything\u003c/a> page, to create a Black business directory called the \u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Parade Route\u003c/a>.\u003c/p>\n\u003cp>J. Cole and Noname had a back-and-forth, during which Cole dropped “\u003ca href=\"https://www.youtube.com/watch?v=OZa3HyVLimQ\">Snow On The Bluff\u003c/a>,” a call for Noname to make her message accessible to the masses. Noname responded with “\u003ca href=\"https://www.youtube.com/watch?v=NFp1eW2bihg\">Song 33\u003c/a>,” a track that pretty much asked J. Cole why he was rapping about her, asking her to change her “tone,” when there are far more important issues to be addressed.\u003c/p>\n\u003cp>In the past month, \u003ca href=\"https://www.youtube.com/watch?v=_VDGysJGNoI\">Lil Baby\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Z5HN-4396Jo\">Tee Grizzley\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DWZkjXCU-ds\">Trey Songz\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ramteyfi9bE\">YG\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=JUnc3kl0DcA\">Meek Mill\u003c/a> all dropped songs about police brutality and systematic racism. Wale released a six-song EP, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLHzeg4D5T9v4peshRjOitaZVT9N05Kt2f&src=Linkfire&lId=747b96e4-d374-4dd3-8990-9a4dcab5c737&cId=d3d58fd7-4c47-11e6-9fd0-066c3e7a8751\">The Imperfect Storm\u003c/a>\u003c/em>, which covers those issues and more. DaBaby released a “Black Lives Matter Remix” to his chart-topping song “\u003ca href=\"https://www.youtube.com/watch?v=0Em5cZFocQ0&feature=emb_title\">Rockstar\u003c/a>” featuring Roddy Ricch.\u003c/p>\n\u003cp>And Anderson .Paak crossed off all the boxes on his “Summer Song 2020” bingo card—he put out a song called “\u003ca href=\"https://www.youtube.com/watch?v=TgItkJCm09c\">Lockdown\u003c/a>,” on Juneteenth, that managed to mention COVID, police brutality, looting, slavery, protests \u003cem>and\u003c/em> the unemployment rate.\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/TgItkJCm09c'\n title='//www.youtube.com/embed/TgItkJCm09c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">U\u003c/span>p here in the Bay Area, one of the most politically engaged and artistically inclined regions in the country, you already know artists have been getting active.\u003c/p>\n\u003cp>E-40’s new track “\u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\">Give Me 6\u003c/a>” is a musical request that suggests maintaining the proper physical distance for pandemic socializing. Oakland’s Damian Lillard dropped “\u003ca href=\"https://www.youtube.com/watch?v=J1wQ7_h824U\">Blacklist\u003c/a>,” a track about the racism he faces, even as a wealthy African American man. And Berkeley’s Rexx Life Raj released a single about police brutality simply called “\u003ca href=\"https://www.youtube.com/watch?v=VL4VLUSfwg8&feature=youtu.be\">War\u003c/a>”.\u003c/p>\n\u003cp>But it’s the artists who aren’t as popular who’ve really been talking that shit.\u003c/p>\n\u003cp>I saw Oakland’s \u003ca href=\"https://twitter.com/STSpittin\" target=\"_blank\" rel=\"noopener noreferrer\">ST Spittin’\u003c/a> in traffic recently, where he said he had something for me. His latest single “Huey P. Malcolm Martin” features a sample of Stevie Wonder’s “Visions”—and I was sold on it from the first note.\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/2VM99IYLF-I'\n title='//www.youtube.com/embed/2VM99IYLF-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Berkeley’s \u003ca href=\"https://twitter.com/NettaBrielle\" target=\"_blank\" rel=\"noopener noreferrer\">Netta Brielle\u003c/a> shifted the tempo with her new release, “\u003ca href=\"https://www.youtube.com/watch?v=AU-3Uea4PyI\">Get To You\u003c/a>,” a song that’s more about embracing love than protesting hate—a needed sentiment in these times. Another track using R&B to express emotion during tumult came from Oakland’s \u003ca href=\"https://twitter.com/TalyaPatrick\">Tai Marie\u003c/a>, who recently put out a soulful R&B single titled “\u003ca href=\"https://soundcloud.com/ttaimarie/war-zone\">Warzone\u003c/a>.”\u003c/p>\n\u003cp>Dipping her toes in the classical-piano realm is San Francisco’s \u003ca href=\"https://twitter.com/ImtheJournalist\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Ekeke\u003c/a>, who just put out the song “\u003ca href=\"https://www.instagram.com/p/CByayJUh8qs/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Modern War\u003c/a>.” She says the track is inspired by her upcoming film on African American contributions during WWII at one of the nation’s largest shipyards, right here in Marin. But the words she sings, in her trademark soprano tone, are eerily relevant to today.\u003c/p>\n\u003cp>From Sacramento, Rob Woods’ \u003cem>\u003ca href=\"https://soundcloud.com/therealrobwoods/sets/the-black-tape/s-7dyuknyLjtr\">The Black Tape\u003c/a>\u003c/em> mixes rap lyrics about hope and oppression over R&B vibes, and an undertone of that church feeling throughout the project. (He even incorporates a cold saxophone on the song “Stuck.”) And Pittsburg’s Hotboikal shot the video for “\u003ca href=\"https://www.youtube.com/watch?v=VO1dP7CMy78\" target=\"_blank\" rel=\"noopener noreferrer\">Hands Up, Man Down\u003c/a>” in the \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">middle of a protest march\u003c/a> in Santa Rosa, with lyrics about racial profiling and police brutality.\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/VO1dP7CMy78'\n title='//www.youtube.com/embed/VO1dP7CMy78'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sharing that sentiment is Richmond’s \u003ca href=\"https://twitter.com/WallahUmoja\">Wallah Umoja\u003c/a>, who dropped a new video for an older track, \u003ca href=\"https://open.spotify.com/album/7vbwGIkNzDs2PKryN9BFZ0?highlight=spotify:track:3ZPM9hdhw42oKotLM4Zc2N\">Senses\u003c/a>, delivered in a boom-bap cadence. Following that flow is Dom Shalom’s “\u003ca href=\"https://open.spotify.com/album/7HmoIXj4Z0GQhNXdqqrj19?si=FgqfUqSgRDiZnmo79Tx-FA\">The Next\u003c/a>,” a chill vibe that I’d also describe as boom-bap rap.\u003c/p>\n\u003cp>And if you like music that bends genres, Oakland’s Dom Jones came through with soulful jazz-rock for the spirit. Her latest track “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/sayin-nothin\" target=\"_blank\" rel=\"noopener noreferrer\">Sayin’ Nothin’\u003c/a>” is the stuff movie soundtracks are made of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking of movies, the content in Nicholas Easter’s “\u003ca href=\"https://www.youtube.com/watch?v=fKDyDBIOjhs&feature=youtu.be&fbclid=IwAR1AhAh620HVoEkRP5kgQAgHRIl67PQlv0gQ-B_58KHGMhC-ZvWfjerpwog\">Native Tongue\u003c/a>” video isn’t a song as much as it is a compilation of speeches and interviews from the civil rights era to today’s Black Lives Matter movement—featuring the likes of Maya Angelou, Ryan Coogler and Tupac, all layered on top of modern-day footage.\u003c/p>\n\u003cp>Want more spoken-word quotes? \u003ca href=\"https://twitter.com/ClifSoulo\" target=\"_blank\" rel=\"noopener noreferrer\">Clif Soulo\u003c/a> offers a new release titled \u003cem>\u003ca href=\"https://soundcloud.com/clifsoulo/sets/bunchy-carter-grooves/s-YAJYJ0GJAOY\" target=\"_blank\" rel=\"noopener noreferrer\">Bunchy Carter Grooves\u003c/a> \u003c/em>that’s full of clips from interviews with former members of the Black Panther Party.\u003c/p>\n\u003cp>Want something more militant? Oakland’s \u003ca href=\"https://twitter.com/BeastellaAllDat\">Beastella\u003c/a> got a verse from Jay Jonah, and dropped “\u003ca href=\"https://www.youtube.com/watch?v=Snbr-qCpxjY&feature=youtu.be&fbclid=IwAR3PK1zW-v_0moh9V2MUE6rTuIIze6fyTQ15NGdcdCzHgb-QacprRGPR1gs\">1825\u003c/a>.” The track is up there with the most aggressive songs I’ve heard all month, and I’m here for it. As Jay Jonah says on the track: “She Harriet and I’m Nat,” comparing the duo to well-known abolitionist Harriet Tubman and rebellion leader Nat Turner.\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/Snbr-qCpxjY'\n title='//www.youtube.com/embed/Snbr-qCpxjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o yeah, I’ve been listening. I caught the a capella \u003ca href=\"https://twitter.com/caseycopesodope/status/1270886631994613762?s=20\">Twitter\u003c/a> post from San Leandro’s Casey Cope about being a Black man in these times, and I slapped Oaktownsoul’s trippy-hop bass-heavy joint “\u003ca href=\"https://soundcloud.com/oaktownsoul/maskup\">Mask Up\u003c/a>.” I soaked in Gina Madrid’s “\u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=2NYtB9g8VrE&feature=emb_title\">Dame La Mano\u003c/a>” and was reminded the need for unity across different demographics. And through Coco Peila’s track “\u003ca href=\"https://soundcloud.com/cocopeilamusic/coco-peila-whose-world-greennewdeal-prod-hawk-beatz/s-N5s69FMW0Gj\" target=\"_blank\" rel=\"noopener noreferrer\">Whose World?\u003c/a>” I was reminded that in the midst of everything, global warming is still an issue.\u003c/p>\n\u003cp>I listened to Redtone Records’ “\u003ca href=\"https://www.youtube.com/watch?v=8TQuiigys6I&feature=youtu.be&fbclid=IwAR0Gf4iyMU8EYVPksCnr7TP84x8d8WBh-MMVKR3AiiMe4a3mVaVg5QUoWIs\">Right Now\u003c/a>!,” a bouncy jazz track with some New Orleans flavor, out of East Palo Alto. Man, I even listened to \u003ca href=\"https://www.youtube.com/watch?v=6wGk8jZQfQ8&feature=youtu.be&fbclid=IwAR1EBRQ0yc2ZFzL-vonhWVVnsEaITwp8eQtrZ-pkDCnY0fKhu0w-Upn_ZlQ\">We Will Break Free, \u003c/a>written by Byron Au Yong and Aaron Jafferis and performed by an acoustic ensemble over videoconferencing:\u003c/p>\n\u003cblockquote>\u003cp>A body isn’t made for a jail, or a box.\u003cbr>\nA body will defy all the fences, all the locks.\u003cbr>\nWe will break the walls that lock us into cells.\u003cbr>\nWe will break the laws that keep us from ourselves.\u003cbr>\nWe will break free.\u003c/p>\u003c/blockquote>\n\u003cp>Taking in all these songs was like reading reports from a classroom full of students who all got the same assignment. There was no wrong answer. In fact, the only wrong would be \u003cem>not\u003c/em> saying something.\u003c/p>\n\u003cp>Chances are, the real “song of the summer”—dubbed so by the music industry itself—will probably be a pop hit. (I’ve got $10 on something that incorporates that \u003ca href=\"https://www.youtube.com/watch?v=TH_gfaiStm0&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Harry remix\u003c/a>.)\u003c/p>\n\u003cp>It likely won’t be a protest song, or a song of Black celebration, and for sure not Black liberation.\u003c/p>\n\u003cp>In spite of that, there are many artists, all across this nation, making music that documents what it means to be living right now.\u003c/p>\n\u003cp>I hear ya’ll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Toro y Moi Shows Oakland Love, Paul Simon Dazzles: Outside Lands Day 3 Highlights",
"headTitle": "Toro y Moi Shows Oakland Love, Paul Simon Dazzles: Outside Lands Day 3 Highlights | KQED",
"content": "\u003cp>After shouting out Oakland, Berkeley and the East Bay, Toro y Moi’s Chaz Bear got a packed Sunday afternoon Outside Lands crowd grooving with “Ordinary Pleasure,” the single from last year’s funkified album \u003cem>Outer Peace\u003c/em>. In the capable hands of his band—which includes conga queen Brijean Murphy and keyboardist Anthony Ferraro of Astronauts Etc.—the track felt alive and wiggly, and the audience moved their feet and swung their hips in appreciation during one of the day’s most memorable sets. [aside postid='arts_13863632']\u003c/p>\n\u003cp>As Bear momentarily brought down the energy with the downtempo “Monte Carlo,” couples winding down from a weekend’s worth of substances made out and slow danced. Audience members greeted the local references in the lyrics (“I can’t take the BART, makes me paranoid”) with whoops of appreciation.\u003c/p>\n\u003cp>After that brief reverie, Bear cranked up the energy again with “Kawasaki,” another two-stepping party track, shouting, “San Francisco, let’s get freaky!”\u003c/p>\n\u003cfigure id=\"attachment_13863766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7206-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear, who is originally from South Carolina, has \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener\">made the East Bay his adopted home\u003c/a> for nearly a decade, bringing talented local musicians into his orbit and sharing his platform with them through collaboration. That dynamic was apparent in his quintet’s synergy on Sunday, as their passionate playing expanded the neatly produced tracks from Toro y Moi’s discography into juicy jam sessions. Bear had fun on his vintage synth, whose \u003cem>bloops\u003c/em> and \u003cem>bleeps\u003c/em> sounded like a cartoon spaceship, while Murphy pitter-pattered on her congas with graceful dexterity.\u003c/p>\n\u003cp>Between songs, Bear fondly remembered his first show in San Francisco 10 years ago at Bottom of the Hill. “I just gotta say, that made me wanna move here,” he told the audience sentimentally. With his spirited and skilled performance, he made the Bay Area proud.\u003c/p>\n\u003ch2>Other highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-800x499.jpg\" alt=\"Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Paul Simon\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A national treasure, folk-rock legend Paul Simon reimagined some of his best-known songs with the help of \u003ca href=\"https://www.ymusicensemble.com/\" target=\"_blank\" rel=\"noopener\">yMusic\u003c/a>, a string and woodwind sextet, during his Sunday headlining set. The stripped-down version of his classic “Bridge Over Troubled Water,” with weeping cellos and an airy, sparse arrangement, was especially touching.\u003c/p>\n\u003cp>When Simon wrote the track at 28 years old in 1969, he confessed, he underestimated its power. “I didn’t know music could course through you like a conduit,” he said, giving fans a glimpse into his thought process. He talked about how the song has taken on many forms: Aretha Franklin recorded her soulful rendition of it at the Fillmore West in San Francisco in 1971. [aside postid='arts_13863549']\u003c/p>\n\u003cp>Though Simon’s headlining set wasn’t as well-attended as Childish Gambino’s the day before (the festival audience this year skewed very young), his refreshing takes on familiar songs (and dad jokes) warmed fans’ hearts. “Me and Julio Down By the Schoolyard,” which he performed with his full 11-piece band, got the crowd doesy-doeing with wild abandon. Before performing his ballad “Rene and Georgette Magritte with their Dog After the War,” he told the audience a story of visiting Joan Baez’ house in the Bay Area in the ’80s and picking up a surrealist art book that inspired the song.\u003c/p>\n\u003cfigure id=\"attachment_13863778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7519-1-800x533.jpg\" alt=\"Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an almost two-hour set, the audience demanded an encore, and Simon obliged, performing “The Boxer” with a special guest: the Grateful Dead’s Bob Weir. It was special to see Simon come out of retirement to play Outside Lands, and the fact that he donated his fee to San Francisco Parks Alliance and Friends of the Urban Forest made it even better.\u003c/p>\n\u003cfigure id=\"attachment_13863756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7007-1-800x533.jpg\" alt=\"Kacey Musgraves performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong>\u003c/p>\n\u003cp>Fox News recently got on Kacey Musgraves’ case for saying “somebody f-cking do something” about the United States’ gun violence epidemic, the channel’s talking heads feigning outrage at Musgraves’ swearing. During her charming Outside Lands performance, she seemed to troll those who want her to play the part of a prim-and-proper country singer, asking the audience to lift their middle fingers in the air before launching into a set of sweetly strummed songs from her Grammy-winning \u003cem>Golden Hour. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13863775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-800x533.jpg\" alt=\"Anderson .Paak performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anderson .Paak & the Free Nationals\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Paul Simon played the large Lands End stage, Anderson .Paak fans overflowed the field at the smaller Sutro Stage, where the rapper, drummer and producer regaled them with a neo-funk dance party with the help of a band and three soulful backup singers. Paak has a knack for making party songs that prompt listeners to contemplate deeper social issues while they dance, as was the case with “King James,” a track that pays homage to Lebron’s philanthropy (“You can’t gentrify the heart of a king”). With “Tints” and “Glowed Up,” Paak got his legions of fans moving. The only downside was that there were so many of them. Hundreds of people were stuck in the back, where the music wasn’t quite audible—a recurring issue during Outside Lands’ most packed edition yet.\u003c/p>\n\u003cfigure id=\"attachment_13863776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7487-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7334-1-800x533.jpg\" alt=\"Bebe Rexha performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bebe Rexha performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7108-1-800x533.jpg\" alt=\"Leon Bridges performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Bridges performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7249-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863752\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6951-1-800x533.jpg\" alt=\"Anderson .Paak and Roy Choi cook vegan dishes at the Outside Lands GastroMagic stage on Aug. 11,2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak and Roy Choi cook vegan dishes at the Outside Lands GastroMagic stage on Aug. 11,2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7045-1-800x533.jpg\" alt=\"Bob Moses performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Moses performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Kacey Musgraves and Anderson .Paak also impressed on the festival's closing day.",
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"description": "Kacey Musgraves and Anderson .Paak also impressed on the festival's closing day.",
"title": "Toro y Moi Shows Oakland Love, Paul Simon Dazzles: Outside Lands Day 3 Highlights | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After shouting out Oakland, Berkeley and the East Bay, Toro y Moi’s Chaz Bear got a packed Sunday afternoon Outside Lands crowd grooving with “Ordinary Pleasure,” the single from last year’s funkified album \u003cem>Outer Peace\u003c/em>. In the capable hands of his band—which includes conga queen Brijean Murphy and keyboardist Anthony Ferraro of Astronauts Etc.—the track felt alive and wiggly, and the audience moved their feet and swung their hips in appreciation during one of the day’s most memorable sets. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Bear momentarily brought down the energy with the downtempo “Monte Carlo,” couples winding down from a weekend’s worth of substances made out and slow danced. Audience members greeted the local references in the lyrics (“I can’t take the BART, makes me paranoid”) with whoops of appreciation.\u003c/p>\n\u003cp>After that brief reverie, Bear cranked up the energy again with “Kawasaki,” another two-stepping party track, shouting, “San Francisco, let’s get freaky!”\u003c/p>\n\u003cfigure id=\"attachment_13863766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7206-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear, who is originally from South Carolina, has \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener\">made the East Bay his adopted home\u003c/a> for nearly a decade, bringing talented local musicians into his orbit and sharing his platform with them through collaboration. That dynamic was apparent in his quintet’s synergy on Sunday, as their passionate playing expanded the neatly produced tracks from Toro y Moi’s discography into juicy jam sessions. Bear had fun on his vintage synth, whose \u003cem>bloops\u003c/em> and \u003cem>bleeps\u003c/em> sounded like a cartoon spaceship, while Murphy pitter-pattered on her congas with graceful dexterity.\u003c/p>\n\u003cp>Between songs, Bear fondly remembered his first show in San Francisco 10 years ago at Bottom of the Hill. “I just gotta say, that made me wanna move here,” he told the audience sentimentally. With his spirited and skilled performance, he made the Bay Area proud.\u003c/p>\n\u003ch2>Other highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-800x499.jpg\" alt=\"Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7523-Edit-1-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Paul Simon\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A national treasure, folk-rock legend Paul Simon reimagined some of his best-known songs with the help of \u003ca href=\"https://www.ymusicensemble.com/\" target=\"_blank\" rel=\"noopener\">yMusic\u003c/a>, a string and woodwind sextet, during his Sunday headlining set. The stripped-down version of his classic “Bridge Over Troubled Water,” with weeping cellos and an airy, sparse arrangement, was especially touching.\u003c/p>\n\u003cp>When Simon wrote the track at 28 years old in 1969, he confessed, he underestimated its power. “I didn’t know music could course through you like a conduit,” he said, giving fans a glimpse into his thought process. He talked about how the song has taken on many forms: Aretha Franklin recorded her soulful rendition of it at the Fillmore West in San Francisco in 1971. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Simon’s headlining set wasn’t as well-attended as Childish Gambino’s the day before (the festival audience this year skewed very young), his refreshing takes on familiar songs (and dad jokes) warmed fans’ hearts. “Me and Julio Down By the Schoolyard,” which he performed with his full 11-piece band, got the crowd doesy-doeing with wild abandon. Before performing his ballad “Rene and Georgette Magritte with their Dog After the War,” he told the audience a story of visiting Joan Baez’ house in the Bay Area in the ’80s and picking up a surrealist art book that inspired the song.\u003c/p>\n\u003cfigure id=\"attachment_13863778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7519-1-800x533.jpg\" alt=\"Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7519-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Simon performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an almost two-hour set, the audience demanded an encore, and Simon obliged, performing “The Boxer” with a special guest: the Grateful Dead’s Bob Weir. It was special to see Simon come out of retirement to play Outside Lands, and the fact that he donated his fee to San Francisco Parks Alliance and Friends of the Urban Forest made it even better.\u003c/p>\n\u003cfigure id=\"attachment_13863756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7007-1-800x533.jpg\" alt=\"Kacey Musgraves performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7007-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong>\u003c/p>\n\u003cp>Fox News recently got on Kacey Musgraves’ case for saying “somebody f-cking do something” about the United States’ gun violence epidemic, the channel’s talking heads feigning outrage at Musgraves’ swearing. During her charming Outside Lands performance, she seemed to troll those who want her to play the part of a prim-and-proper country singer, asking the audience to lift their middle fingers in the air before launching into a set of sweetly strummed songs from her Grammy-winning \u003cem>Golden Hour. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13863775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-800x533.jpg\" alt=\"Anderson .Paak performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7349-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anderson .Paak & the Free Nationals\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Paul Simon played the large Lands End stage, Anderson .Paak fans overflowed the field at the smaller Sutro Stage, where the rapper, drummer and producer regaled them with a neo-funk dance party with the help of a band and three soulful backup singers. Paak has a knack for making party songs that prompt listeners to contemplate deeper social issues while they dance, as was the case with “King James,” a track that pays homage to Lebron’s philanthropy (“You can’t gentrify the heart of a king”). With “Tints” and “Glowed Up,” Paak got his legions of fans moving. The only downside was that there were so many of them. Hundreds of people were stuck in the back, where the music wasn’t quite audible—a recurring issue during Outside Lands’ most packed edition yet.\u003c/p>\n\u003cfigure id=\"attachment_13863776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7487-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7487-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7334-1-800x533.jpg\" alt=\"Bebe Rexha performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7334-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bebe Rexha performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7108-1-800x533.jpg\" alt=\"Leon Bridges performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7108-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Bridges performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7249-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7249-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863752\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6951-1-800x533.jpg\" alt=\"Anderson .Paak and Roy Choi cook vegan dishes at the Outside Lands GastroMagic stage on Aug. 11,2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6951-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak and Roy Choi cook vegan dishes at the Outside Lands GastroMagic stage on Aug. 11,2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_7045-1-800x533.jpg\" alt=\"Bob Moses performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7045-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Moses performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Anderson .Paak Comes Home: 'This Is What We Dreamed Of'",
"headTitle": "Anderson .Paak Comes Home: ‘This Is What We Dreamed Of’ | KQED",
"content": "\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>[contextly_sidebar id=”LGnfQYtSPx1snjlWaOVgTWypS2NjCiu5″]\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>[contextly_sidebar id=”FXUntZjqQ9F4vy03llUcuQvBHTBrBcMp”]\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The singer-songwriter-rapper-drummer is one of music's most venerable Renaissance men. .Paak discusses his early struggles, building confidence and his latest album, \u003cem>Oxnard\u003c/em>, with David Greene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SZA, Brockhampton, Kamaiyah Bring Blurry Vision Into Focus in Oakland",
"headTitle": "SZA, Brockhampton, Kamaiyah Bring Blurry Vision Into Focus in Oakland | KQED",
"content": "\u003cp>The Blurry Vision music festival made an impressive debut in Oakland this weekend, bringing SZA, Migos, Anderson .Paak and Brockhampton and more to Middle Harbor Shoreline Park, a hidden gem at the Port of Oakland. With its picturesque views of shipping cranes, the Bay Bridge and the San Francisco skyline, the park provided a scenic backdrop for the festival, which featured 21 performers over two days, including some of rap and R&B’s brightest stars.\u003c/p>\n\u003cp>Despite Oakland’s wealth of talent, the booking largely overlooked the region (Kamaiyah, DJ Aux Cord and Caleon Fox were the only locals) — but SZA, Brockhampton and Kamaiyah’s upbeat sets made the festival worth attending. Migos, who make some of the most fun music of our time, surprisingly didn’t sound as polished live as one would expect of artists of their caliber (their vocal backing track was very audible, and Takeoff, the most skillful rapper of the three, carried the set). Few artists opted to have a live band, which would have elevated many of the performances; Anderson .Paak’s set with NxWorries (which features producer Knxledge on turntables) would have sounded more dynamic with his band, the Free Nationals, instead.\u003c/p>\n\u003cp>Despite a few kinks, like huge lines for drinks and no jumbotrons for the people in the back, Blurry Vision was infused with good vibes. The crowd was young and diverse, with Instagram-worthy makeup and the latest streetwear fashions. The fest had only one stage, feeling more laid-back and intimate than similarly sized events from its promoter, Goldenvoice, the company behind Coachella. Middle Harbor Shoreline Park offered people plenty of space to spread out and dance; weed smoke filled the air as the sun set over the Bay.\u003c/p>\n\u003cp>Check out highlights from our favorite performances and a photo slideshow below.\u003c/p>\n\u003cfigure id=\"attachment_13832078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9647-800x533.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Brockhampton Brought a Helicopter on Stage\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to Brockhampton’s performance at sunset on Saturday, Blurry Vision felt somewhat sleepy. Without eye-catching set designs or live bands, solo artists like Roy Wood$ and Isaiah Rashaad were easy to tune out. It wasn’t that they weren’t giving their performances their all, but rather, as emerging artists, they hadn’t elevated their shows from club scale to large-scale festival level yet.\u003c/p>\n\u003cp>Brockhampton, however, are maximalists. They took the stage with a string ensemble and replica helicopter. Their cellist and violinists wore sand-colored outfits resembling military fatigues, with blue face paint recalling Brockhampton’s \u003cem>Saturation III\u003c/em> album cover. Kevin Abstract and his crew of five rappers (out of the group’s total 15 members) wore matching white tees and baggy blue jeans with bulletproof vests, some emblazoned with words like “fiend” and others, more shockingly, with the n-word (hard “R”) and f-word (the gay slur).\u003c/p>\n\u003cp>The multiracial rap group, with its many openly gay members, seemed to be reclaiming these harmful terms (“What are the rules for breakfast today? / What are the words I’m forbidden to say?,” Abstract rhymed on the defiant “Boogie”). Their militaristic set evoked several ideas — imperialist and police violence, for instance, or the fact that America today can feel like a battleground. The queer and black artists on stage looked like they were ready to fight back.\u003c/p>\n\u003cp>Brockhampton are expert showmen: the string musicians shredded on their instruments while the rappers headbanged, ordering the crowd to start a mosh pit. (It turns out the mosh pit is an equalizer, and can make straight men dance to descriptions of gay sex.) Drawing on their shtick of calling themselves a boy band (even though they’re a lot closer to a punk band), they occasionally stepped and danced in unison, uncoordinated and endearing. The group’s flows were dynamic, with an alchemy of distinct voices comparable to firecrackers like Method Man and Redman. Their Blurry Vision set proved the young, scrappy collective has the potential to become cultural change makers, and that they have a bright future ahead.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" ids=\"13832142,13832141,13832139,13832136,13832134,13832132,13832130,13832129,13832126,13832127,13832122,13832123,13832124,13832121,13832114,13832113,13832086,13832085,13832082,13832073,13832074,13832069,13832065,13832064,13832062,13832117,13832118,13832131\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>SZA Made Everyone Feel Like Her Best Friend\u003c/strong>\u003c/p>\n\u003cp>Even with a No. 2 album on Billboard, a handful of Grammy nominations and a headlining set at Blurry Vision, SZA introduced herself to the audience on Saturday night as humbly as an artist promoting her first mixtape. In many ways, her onstage persona resonated with the carefree energy of a lot of Oakland girls, with her sporty style; big wild hair instead of a perfectly coiffed weave; and an uninhibitedness to dance crazy and \u003cem>gig\u003c/em> instead of striving to appear doll-like or sexy. She also possesses the rare ability to bare her soul to a crowd of tens of thousands, making each person in the audience feel like her best friend.\u003c/p>\n\u003cp>That casual authenticity helps explain why SZA’s debut album \u003cem>CTRL\u003c/em> became a Bible to twenty-something straight and bi women for its incisive commentary on the state of dating as a millennial. The audience cathartically sang along with her hilarious kiss-off to an emotionally unavailable dude on “Doves in the Wind” (laughing that he’s no better than a “rubber substitute”). People swayed arm in arm as SZA sang “god bless these twentysomethings” (on “20 Something”), letting out a collective sigh of acceptance about the uncertainty of the future.\u003c/p>\n\u003cp>SZA’s voice, which she uses as nimbly and dynamically as a skilled trombone player, sounded robust and crisp, and her chemistry with her band was infectious. “Go Gina” turned into a psychedelic pop jam session a la Tame Impala, and “The Weekend,” one of her best-known radio singles, got a funkified, double-time makeover. “Thank you Oakland,” she exclaimed as the lights of the Bay Bridge sparkled, “you have a beautiful city.”\u003c/p>\n\u003cfigure id=\"attachment_13832143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9947-2-800x515.jpg\" alt=\"Kamaiyah plays Blurry Vision Festival in Oakland on May 13.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Blurry Vision Festival in Oakland on May 13. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kamaiyah Represented for the Town\u003c/strong>\u003c/p>\n\u003cp>Kamaiyah enjoyed a triumphant homecoming on the second day of Blurry Vision. Among a roster of out-of-town artists, her sound stood out as something distinctly grown in Oakland, with funky, bass-heavy beats that sample the likes of Too Short and Tony! Toni! Toné! Kamaiyah hit the stage in a Missy Elliott-inspired jumpsuit: half purple and half black, emblazoned with her “K” monogram. Backup dancers spun, grooved and stepped behind her, with retro choreography that called to mind ’90s girl groups like TLC. (At one point during the set, one of them twerked in a vertical split.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The crowd was rapt from the start; some sang along while others chatted excitedly, trying to identify her samples and prove their Bay Area cred. Kamaiyah called for cheers for the independent women, spitting sex-positive anthems and party rockers from \u003cem>A Good Night in the Ghetto\u003c/em> with crisp perfection. After running through “Freaky Freaks,” “Mo Money Mo Problems” and other favorites from her debut, she rapped “Dope B-tch” with the crowd approvingly echoing the refrain, “Straight up out of Oakland,” affirming Kamaiyah’s position as the reigning Bay Area rap queen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Blurry Vision music festival made an impressive debut in Oakland this weekend, bringing SZA, Migos, Anderson .Paak and Brockhampton and more to Middle Harbor Shoreline Park, a hidden gem at the Port of Oakland. With its picturesque views of shipping cranes, the Bay Bridge and the San Francisco skyline, the park provided a scenic backdrop for the festival, which featured 21 performers over two days, including some of rap and R&B’s brightest stars.\u003c/p>\n\u003cp>Despite Oakland’s wealth of talent, the booking largely overlooked the region (Kamaiyah, DJ Aux Cord and Caleon Fox were the only locals) — but SZA, Brockhampton and Kamaiyah’s upbeat sets made the festival worth attending. Migos, who make some of the most fun music of our time, surprisingly didn’t sound as polished live as one would expect of artists of their caliber (their vocal backing track was very audible, and Takeoff, the most skillful rapper of the three, carried the set). Few artists opted to have a live band, which would have elevated many of the performances; Anderson .Paak’s set with NxWorries (which features producer Knxledge on turntables) would have sounded more dynamic with his band, the Free Nationals, instead.\u003c/p>\n\u003cp>Despite a few kinks, like huge lines for drinks and no jumbotrons for the people in the back, Blurry Vision was infused with good vibes. The crowd was young and diverse, with Instagram-worthy makeup and the latest streetwear fashions. The fest had only one stage, feeling more laid-back and intimate than similarly sized events from its promoter, Goldenvoice, the company behind Coachella. Middle Harbor Shoreline Park offered people plenty of space to spread out and dance; weed smoke filled the air as the sun set over the Bay.\u003c/p>\n\u003cp>Check out highlights from our favorite performances and a photo slideshow below.\u003c/p>\n\u003cfigure id=\"attachment_13832078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9647-800x533.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Brockhampton Brought a Helicopter on Stage\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to Brockhampton’s performance at sunset on Saturday, Blurry Vision felt somewhat sleepy. Without eye-catching set designs or live bands, solo artists like Roy Wood$ and Isaiah Rashaad were easy to tune out. It wasn’t that they weren’t giving their performances their all, but rather, as emerging artists, they hadn’t elevated their shows from club scale to large-scale festival level yet.\u003c/p>\n\u003cp>Brockhampton, however, are maximalists. They took the stage with a string ensemble and replica helicopter. Their cellist and violinists wore sand-colored outfits resembling military fatigues, with blue face paint recalling Brockhampton’s \u003cem>Saturation III\u003c/em> album cover. Kevin Abstract and his crew of five rappers (out of the group’s total 15 members) wore matching white tees and baggy blue jeans with bulletproof vests, some emblazoned with words like “fiend” and others, more shockingly, with the n-word (hard “R”) and f-word (the gay slur).\u003c/p>\n\u003cp>The multiracial rap group, with its many openly gay members, seemed to be reclaiming these harmful terms (“What are the rules for breakfast today? / What are the words I’m forbidden to say?,” Abstract rhymed on the defiant “Boogie”). Their militaristic set evoked several ideas — imperialist and police violence, for instance, or the fact that America today can feel like a battleground. The queer and black artists on stage looked like they were ready to fight back.\u003c/p>\n\u003cp>Brockhampton are expert showmen: the string musicians shredded on their instruments while the rappers headbanged, ordering the crowd to start a mosh pit. (It turns out the mosh pit is an equalizer, and can make straight men dance to descriptions of gay sex.) Drawing on their shtick of calling themselves a boy band (even though they’re a lot closer to a punk band), they occasionally stepped and danced in unison, uncoordinated and endearing. The group’s flows were dynamic, with an alchemy of distinct voices comparable to firecrackers like Method Man and Redman. Their Blurry Vision set proved the young, scrappy collective has the potential to become cultural change makers, and that they have a bright future ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SZA Made Everyone Feel Like Her Best Friend\u003c/strong>\u003c/p>\n\u003cp>Even with a No. 2 album on Billboard, a handful of Grammy nominations and a headlining set at Blurry Vision, SZA introduced herself to the audience on Saturday night as humbly as an artist promoting her first mixtape. In many ways, her onstage persona resonated with the carefree energy of a lot of Oakland girls, with her sporty style; big wild hair instead of a perfectly coiffed weave; and an uninhibitedness to dance crazy and \u003cem>gig\u003c/em> instead of striving to appear doll-like or sexy. She also possesses the rare ability to bare her soul to a crowd of tens of thousands, making each person in the audience feel like her best friend.\u003c/p>\n\u003cp>That casual authenticity helps explain why SZA’s debut album \u003cem>CTRL\u003c/em> became a Bible to twenty-something straight and bi women for its incisive commentary on the state of dating as a millennial. The audience cathartically sang along with her hilarious kiss-off to an emotionally unavailable dude on “Doves in the Wind” (laughing that he’s no better than a “rubber substitute”). People swayed arm in arm as SZA sang “god bless these twentysomethings” (on “20 Something”), letting out a collective sigh of acceptance about the uncertainty of the future.\u003c/p>\n\u003cp>SZA’s voice, which she uses as nimbly and dynamically as a skilled trombone player, sounded robust and crisp, and her chemistry with her band was infectious. “Go Gina” turned into a psychedelic pop jam session a la Tame Impala, and “The Weekend,” one of her best-known radio singles, got a funkified, double-time makeover. “Thank you Oakland,” she exclaimed as the lights of the Bay Bridge sparkled, “you have a beautiful city.”\u003c/p>\n\u003cfigure id=\"attachment_13832143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9947-2-800x515.jpg\" alt=\"Kamaiyah plays Blurry Vision Festival in Oakland on May 13.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Blurry Vision Festival in Oakland on May 13. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kamaiyah Represented for the Town\u003c/strong>\u003c/p>\n\u003cp>Kamaiyah enjoyed a triumphant homecoming on the second day of Blurry Vision. Among a roster of out-of-town artists, her sound stood out as something distinctly grown in Oakland, with funky, bass-heavy beats that sample the likes of Too Short and Tony! Toni! Toné! Kamaiyah hit the stage in a Missy Elliott-inspired jumpsuit: half purple and half black, emblazoned with her “K” monogram. Backup dancers spun, grooved and stepped behind her, with retro choreography that called to mind ’90s girl groups like TLC. (At one point during the set, one of them twerked in a vertical split.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowd was rapt from the start; some sang along while others chatted excitedly, trying to identify her samples and prove their Bay Area cred. Kamaiyah called for cheers for the independent women, spitting sex-positive anthems and party rockers from \u003cem>A Good Night in the Ghetto\u003c/em> with crisp perfection. After running through “Freaky Freaks,” “Mo Money Mo Problems” and other favorites from her debut, she rapped “Dope B-tch” with the crowd approvingly echoing the refrain, “Straight up out of Oakland,” affirming Kamaiyah’s position as the reigning Bay Area rap queen.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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>",
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"soldout": {
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