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"content": "\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>[aside postID='arts_13923938']\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13928550']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Come correct at these block parties, club dates and festivals for hip-hop's 50th in the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever",
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"content": "\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>[aside postid='arts_13931753']\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JhXRNRmuYcc\u003c/p>\n\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>[aside postid='arts_13932259']They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\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/JhXRNRmuYcc'\n title='//www.youtube.com/embed/JhXRNRmuYcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Souls of Mischief are having a big year: it’s the 30th anniversary of their debut album \u003cem>’93 Til Infinity\u003c/em>, and they’re on a transatlantic tour that lands at the \u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Great American Music Hall on Aug. 14\u003c/a> — just weeks before their annual Oakland block party \u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a> on Sept. 4.\u003c/p>\n\u003cp>Today, the mighty Souls of Mischief dropped a new version of “’93 Til Infinity” with members freestyling all-new verses live, in one take, for Red Bull Music’s Spiral cypher series. Take some Dramamine, listen for name-drops of Steph Curry and \u003cem>Poltergeist\u003c/em>, and watch above.\u003c/p>\n\u003cp>\u003cem>For more \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, see our year-long exploration of Bay Area hip-hop history \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Hip-Hop-Heavy Blue Note Jazz Festival Celebrates the Spiritual Lineage of Black Music",
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"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": "Bay Area Hip-Hop Beneath the Rollercoasters",
"headTitle": "Bay Area Hip-Hop Beneath the Rollercoasters | KQED",
"content": "\u003cp>Richmond rapper Iamsu! hasn’t performed his own live show since 2019 — when the pre-pandemic world felt limitless and more socially manageable. But now, fresh off a guest appearance in Oakland at Larry June’s “The Great Escape” tour, Iamsu! is \u003ca href=\"https://www.youtube.com/watch?v=49f2ZJi00CE\">back on our minds\u003c/a> with an upcoming concert of his own: \u003ca href=\"https://www.iamsummerfest.com/\">IAMSUMMER Fest\u003c/a>.\u003c/p>\n\u003cp>For Su, a founding member of the rap collective Heartbreak Gang, the time feels right to finally re-emerge after a pandemic-triggered hiatus.\u003c/p>\n\u003cp>“Once I got settled into the pandemic, it was tough to crack the shell to come out,” he says. “It feels hella good to be back out in this space and picking my right spots, having the right homies to work with and just being intentional about it. It’s a real \u003ca href=\"https://www.youtube.com/watch?v=mwVAiQVGDmY\">summer jam\u003c/a>.”\u003c/p>\n\u003cp>The concert takes place at \u003ca href=\"https://www.instagram.com/cagreatamerica/?hl=en\">California’s Great America\u003c/a>, the amusement park that invokes heavy nostalgia for many Bay Area natives, including Su, who grew up riding favorites like Top Gun, Drop Zone and The Demon.\u003c/p>\n\u003cfigure id=\"attachment_13932222\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932222\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/image_50365441-800x811.jpg\" alt=\"a local rapper jumps mid air while performing on a darkly lit stage\" width=\"800\" height=\"811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441.jpg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iamsu! first performed at Great America in 2016. \u003ccite>(Courtesy of Iamsu!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a young boy, the experience of going through those gates, seeing the fountains, eating churros, that just puts a smile on my face,” Iamsu! says. “That magic, that fun, it’s not always present in the Bay these days. It’s just a small escape from our regular lives.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Iamsu! will be joined by fellow Heartbreak Gang artists \u003ca href=\"https://www.kqed.org/arts/13927403/kool-johns-up-all-night-3-is-as-cool-as-youd-expect\">Kool John\u003c/a>, Skipper, Show Banga, Dave Steezy, CJ, DJ Shell and other “surprise” guests. Also on hand will be Iamsu!’s favorite food trucks and brands, such as \u003ca href=\"https://www.lilliemaesbbq.com/\">Lily Mae’s House of Soul Food\u003c/a>, Oakland Roots, \u003ca href=\"https://shmoplife.com/products/fundraiser-logo-hoody-black-1\">Fundraisers\u003c/a>, and San Francisco rapper Lil Bean’s \u003ca href=\"https://www.benowrld.com/shop\">Beno World\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_10489213']In previous summers, the concert has rotated venues. But by bringing it to Santa Clara’s theme park, Su says, this year’s event is about family fun, childhood memories and being outside again.\u003c/p>\n\u003cp>“I have memories of being terrified of those rides,” Su admits. “Sometimes you’d wanna bail the line at the end! It’s that mixture of fun and insane anxiety. But you feel like ‘him’ once you get off. I want to bring that feeling back. Shout out Great America and the amusement parks in the Bay, for real.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>IAMSUMMER Fest takes place on Saturday, Aug. 5, at California’s Great America in Santa Clara. \u003ca href=\"https://www.iamsummerfest.com/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Richmond rap star Iamsu! returns to Great America with the HBK Gang for a summertime party.\r\n",
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"headline": "Bay Area Hip-Hop Beneath the Rollercoasters",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Richmond rapper Iamsu! hasn’t performed his own live show since 2019 — when the pre-pandemic world felt limitless and more socially manageable. But now, fresh off a guest appearance in Oakland at Larry June’s “The Great Escape” tour, Iamsu! is \u003ca href=\"https://www.youtube.com/watch?v=49f2ZJi00CE\">back on our minds\u003c/a> with an upcoming concert of his own: \u003ca href=\"https://www.iamsummerfest.com/\">IAMSUMMER Fest\u003c/a>.\u003c/p>\n\u003cp>For Su, a founding member of the rap collective Heartbreak Gang, the time feels right to finally re-emerge after a pandemic-triggered hiatus.\u003c/p>\n\u003cp>“Once I got settled into the pandemic, it was tough to crack the shell to come out,” he says. “It feels hella good to be back out in this space and picking my right spots, having the right homies to work with and just being intentional about it. It’s a real \u003ca href=\"https://www.youtube.com/watch?v=mwVAiQVGDmY\">summer jam\u003c/a>.”\u003c/p>\n\u003cp>The concert takes place at \u003ca href=\"https://www.instagram.com/cagreatamerica/?hl=en\">California’s Great America\u003c/a>, the amusement park that invokes heavy nostalgia for many Bay Area natives, including Su, who grew up riding favorites like Top Gun, Drop Zone and The Demon.\u003c/p>\n\u003cfigure id=\"attachment_13932222\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932222\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/image_50365441-800x811.jpg\" alt=\"a local rapper jumps mid air while performing on a darkly lit stage\" width=\"800\" height=\"811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441-768x779.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/image_50365441.jpg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iamsu! first performed at Great America in 2016. \u003ccite>(Courtesy of Iamsu!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a young boy, the experience of going through those gates, seeing the fountains, eating churros, that just puts a smile on my face,” Iamsu! says. “That magic, that fun, it’s not always present in the Bay these days. It’s just a small escape from our regular lives.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Iamsu! will be joined by fellow Heartbreak Gang artists \u003ca href=\"https://www.kqed.org/arts/13927403/kool-johns-up-all-night-3-is-as-cool-as-youd-expect\">Kool John\u003c/a>, Skipper, Show Banga, Dave Steezy, CJ, DJ Shell and other “surprise” guests. Also on hand will be Iamsu!’s favorite food trucks and brands, such as \u003ca href=\"https://www.lilliemaesbbq.com/\">Lily Mae’s House of Soul Food\u003c/a>, Oakland Roots, \u003ca href=\"https://shmoplife.com/products/fundraiser-logo-hoody-black-1\">Fundraisers\u003c/a>, and San Francisco rapper Lil Bean’s \u003ca href=\"https://www.benowrld.com/shop\">Beno World\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In previous summers, the concert has rotated venues. But by bringing it to Santa Clara’s theme park, Su says, this year’s event is about family fun, childhood memories and being outside again.\u003c/p>\n\u003cp>“I have memories of being terrified of those rides,” Su admits. “Sometimes you’d wanna bail the line at the end! It’s that mixture of fun and insane anxiety. But you feel like ‘him’ once you get off. I want to bring that feeling back. Shout out Great America and the amusement parks in the Bay, for real.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>IAMSUMMER Fest takes place on Saturday, Aug. 5, at California’s Great America in Santa Clara. \u003ca href=\"https://www.iamsummerfest.com/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Much has been said about the post-Nicki Minaj tidal wave of chart-topping female rappers, but the truth is that women have been essential to hip-hop since its birth.\u003c/p>\n\u003cp>Fifty years ago, on August 11, 1973, DJ Kool Herc spun records at a Bronx back-to-school party that became known as the genesis of hip-hop culture. But a lesser-known detail of this origin story is that Kool Herc’s sister Cindy Campbell organized the party, and hand-drew and passed out flyers to spread the word, making her hip-hop’s first promoter.\u003c/p>\n\u003cp>As hip-hop entered the mainstream in the ’80s, female rappers, DJs, graffiti writers, dancers and photographers perfected their crafts, laying the foundation for a global culture that flourished in the following decades. But their stories have often gone untold. Historically, women have been pitted against each other, cut out of crucial deals and punished for speaking out about their experiences. And because of the pressure to be a ride-or-die chick, or the cool girl who can hang with the guys, many of their stories are \u003ca href=\"https://www.npr.org/podcasts/510357/louder-than-a-riot\">only recently starting to emerge\u003c/a>.\u003c/p>\n\u003cp>That’s why, as part of our coverage celebrating \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, we’ve made it a priority to highlight the women who’ve helped make this region a center of originality and independence. At Dregs One’s recent \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">History of the Bay Day Party\u003c/a> at the Midway in San Francisco, I had the honor of moderating a panel with three of these influential women: \u003ca href=\"https://www.instagram.com/cmgflowz/?hl=en\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a>; graffiti artist and \u003ca href=\"https://www.eastsideartsalliance.org/\">EastSide Arts Alliance\u003c/a> visual arts director \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Dime\u003c/a>, also of the collective \u003ca href=\"https://www.instagram.com/fewandfarwomen/?hl=en\">Few and Far Women\u003c/a>; and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>, the Thizz Nation photographer who documented the hyphy movement’s rise and later served as the West Coast editor of \u003cem>Ozone Magazine\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch the full conversation above, and read an edited excerpt from our interview below.\u003c/p>\n\u003cfigure id=\"attachment_13932122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/panel2-800x535.jpg\" alt=\"A white, female journalist in her 30s interviews a Latina artist in her 40s, a Black rapper in her 50s and a mixed-race photographer in her 40s. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: KQED Arts & Culture’s Nastia Voynovskaya, graffiti artist Dime, The Conscious Daughters’ CMG and photographer D-Ray at Dregs One’s History of the Bay Day Party at the Midway in San Francisco on July 9, 2023. \u003ccite>(Milly Millions @millavellz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: My first question is for you, Carla. For a long time, there has been this narrative that there can only be one queen of rap. But as The Conscious Daughters were coming up in the ’90s, making hit singles and touring the country, you were also \u003ca href=\"https://www.kqed.org/forum/2010101892837/how-women-pioneers-of-bay-area-hip-hop-made-their-own-rules\">building a sisterhood of Bay Area rappers\u003c/a> that included Suga-T and Mystic. Tell us about those days and the camaraderie among female artists.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Carla Green:\u003c/b> You know, it was just a good time back in the ’90s. I remember those days when we used to hit the club and we had those cyphers, and at the same time we were all coming up together. The Luniz, Digital Underground, Conscious Daughters, Forte, San Quinn, Souls of Mischief, E-40 and The Click. It was like the melting pot of the up-and-coming rappers of the ’90s, and we were all really good friends. So every time we would go out, even though Suga-T would be with The Click, but she would hang out with us because we were the only two girls, right? So this has been my sister now at this point for over 30-some years. [aside postid='arts_13925177']\u003c/p>\n\u003cp>I met Mystic at a club also. You know, we all started hanging out together because we were the women who were at these venues, at these clubs, gettin’ on these mics, getting in these cyphers. And so it’s very unique. You know, you go to New York, you don’t see that kind of stuff in New York. I mean, I know that the ladies know each other, but I don’t think they have a sisterhood — like we would literally spend holidays and stuff together. We know each other’s families and kids.\u003c/p>\n\u003cp>\u003cb>Dime, I want to hear from you. Graffiti can be this hyper-competitive, male-dominated scene. You started in it when you were just 12 years old. What were your early experiences like in graffiti? And what led you to eventually becoming a founding member of Few and Far? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Dime:\u003c/b> It was so fun. We were kids, like literally kids. I grew up in East Oakland, down the street from the train yard. There was no art school around. The streets were our classrooms, the yards were our classrooms. I was really fortunate — the foundation of my values as a woman writer really came from painting with my brother and really close friends and family. That taught me respect is number one. [aside postid='arts_13930886']\u003c/p>\n\u003cp>So as I wanted to really make a name for myself and I wanted to go bigger and learn my style and do my own shit, I really set values for myself as a woman artist and I wanted to follow that. It was always painting my own shit. It was always drawing my own style. It was always never letting nobody fill in my stuff, and really doing my own stunts. Really getting chased and fucking climbing buildings and shit. It was an adrenaline rush. And I was right there with the fellas doing what I had to do.\u003c/p>\n\u003cp>I was lucky, I was a tomboy too. So that kind of helped me be a little under, because as women in this field we’re faced with so much shit on the street. We got the people living on the tracks, to the women working on the tracks, to the pimps that are constantly harassing us for painting, to the cops that are harassing us for painting.\u003c/p>\n\u003cp>And I really wanted to gain my own shit from myself. You know, I didn’t want nobody to say, “Oh, that’s so-and-so’s girlfriend.” I was never going to be so-and-so’s anything. So that was really a way that I wanted to carry myself as an artist. And that’s how I survived, finding my own haven in my secret backyard. [aside postid='arts_13924109']\u003c/p>\n\u003cp>\u003cb>D-Ray, you’ve been a bit more behind the scenes. In fact, you told me you don’t really do interviews, so it’s a rare treat to have you on this stage. You came up with Thizz Nation when the hyphy movement was taking off, and you were the woman in that boys’ club. What was that experience like?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> Coming up with Thizz Nation was very challenging in the beginning. It was multiple personalities. But lucky them, I grew up with all boys, was able to take that and just be their sister, and so it was really a family. So the highlights, I mean, to be honest with you, is just being able to watch the boys grow, just seeing every state, every city just love them, like show them real energy of, “I love what you guys are doing. I love this movement.” You know, go to other states and they’re doing sideshows. It’s what, 24 years later and \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">people are still excited to go do hyphy shit\u003c/a>, you know what I mean? Hyphy was an energy, and the boys had it.\u003c/p>\n\u003cp>And when Dre had this dream to do that with the boys, and we followed through with the dream of Dre after he passed away, it was a beautiful thing because it was the whole Bay. It was everybody. I was the only female in the actual machine running it. So did I feel awkward? No. Nobody messed with me. My brothers never let nothing bad happen to me. I’ll say this, I won’t say who, but I’ve socked two dudes in the chest for being disrespectful.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>Much has been said about the post-Nicki Minaj tidal wave of chart-topping female rappers, but the truth is that women have been essential to hip-hop since its birth.\u003c/p>\n\u003cp>Fifty years ago, on August 11, 1973, DJ Kool Herc spun records at a Bronx back-to-school party that became known as the genesis of hip-hop culture. But a lesser-known detail of this origin story is that Kool Herc’s sister Cindy Campbell organized the party, and hand-drew and passed out flyers to spread the word, making her hip-hop’s first promoter.\u003c/p>\n\u003cp>As hip-hop entered the mainstream in the ’80s, female rappers, DJs, graffiti writers, dancers and photographers perfected their crafts, laying the foundation for a global culture that flourished in the following decades. But their stories have often gone untold. Historically, women have been pitted against each other, cut out of crucial deals and punished for speaking out about their experiences. And because of the pressure to be a ride-or-die chick, or the cool girl who can hang with the guys, many of their stories are \u003ca href=\"https://www.npr.org/podcasts/510357/louder-than-a-riot\">only recently starting to emerge\u003c/a>.\u003c/p>\n\u003cp>That’s why, as part of our coverage celebrating \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, we’ve made it a priority to highlight the women who’ve helped make this region a center of originality and independence. At Dregs One’s recent \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">History of the Bay Day Party\u003c/a> at the Midway in San Francisco, I had the honor of moderating a panel with three of these influential women: \u003ca href=\"https://www.instagram.com/cmgflowz/?hl=en\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a>; graffiti artist and \u003ca href=\"https://www.eastsideartsalliance.org/\">EastSide Arts Alliance\u003c/a> visual arts director \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Dime\u003c/a>, also of the collective \u003ca href=\"https://www.instagram.com/fewandfarwomen/?hl=en\">Few and Far Women\u003c/a>; and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>, the Thizz Nation photographer who documented the hyphy movement’s rise and later served as the West Coast editor of \u003cem>Ozone Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch the full conversation above, and read an edited excerpt from our interview below.\u003c/p>\n\u003cfigure id=\"attachment_13932122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/panel2-800x535.jpg\" alt=\"A white, female journalist in her 30s interviews a Latina artist in her 40s, a Black rapper in her 50s and a mixed-race photographer in her 40s. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/panel2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: KQED Arts & Culture’s Nastia Voynovskaya, graffiti artist Dime, The Conscious Daughters’ CMG and photographer D-Ray at Dregs One’s History of the Bay Day Party at the Midway in San Francisco on July 9, 2023. \u003ccite>(Milly Millions @millavellz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: My first question is for you, Carla. For a long time, there has been this narrative that there can only be one queen of rap. But as The Conscious Daughters were coming up in the ’90s, making hit singles and touring the country, you were also \u003ca href=\"https://www.kqed.org/forum/2010101892837/how-women-pioneers-of-bay-area-hip-hop-made-their-own-rules\">building a sisterhood of Bay Area rappers\u003c/a> that included Suga-T and Mystic. Tell us about those days and the camaraderie among female artists.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Carla Green:\u003c/b> You know, it was just a good time back in the ’90s. I remember those days when we used to hit the club and we had those cyphers, and at the same time we were all coming up together. The Luniz, Digital Underground, Conscious Daughters, Forte, San Quinn, Souls of Mischief, E-40 and The Click. It was like the melting pot of the up-and-coming rappers of the ’90s, and we were all really good friends. So every time we would go out, even though Suga-T would be with The Click, but she would hang out with us because we were the only two girls, right? So this has been my sister now at this point for over 30-some years. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I met Mystic at a club also. You know, we all started hanging out together because we were the women who were at these venues, at these clubs, gettin’ on these mics, getting in these cyphers. And so it’s very unique. You know, you go to New York, you don’t see that kind of stuff in New York. I mean, I know that the ladies know each other, but I don’t think they have a sisterhood — like we would literally spend holidays and stuff together. We know each other’s families and kids.\u003c/p>\n\u003cp>\u003cb>Dime, I want to hear from you. Graffiti can be this hyper-competitive, male-dominated scene. You started in it when you were just 12 years old. What were your early experiences like in graffiti? And what led you to eventually becoming a founding member of Few and Far? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Dime:\u003c/b> It was so fun. We were kids, like literally kids. I grew up in East Oakland, down the street from the train yard. There was no art school around. The streets were our classrooms, the yards were our classrooms. I was really fortunate — the foundation of my values as a woman writer really came from painting with my brother and really close friends and family. That taught me respect is number one. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So as I wanted to really make a name for myself and I wanted to go bigger and learn my style and do my own shit, I really set values for myself as a woman artist and I wanted to follow that. It was always painting my own shit. It was always drawing my own style. It was always never letting nobody fill in my stuff, and really doing my own stunts. Really getting chased and fucking climbing buildings and shit. It was an adrenaline rush. And I was right there with the fellas doing what I had to do.\u003c/p>\n\u003cp>I was lucky, I was a tomboy too. So that kind of helped me be a little under, because as women in this field we’re faced with so much shit on the street. We got the people living on the tracks, to the women working on the tracks, to the pimps that are constantly harassing us for painting, to the cops that are harassing us for painting.\u003c/p>\n\u003cp>And I really wanted to gain my own shit from myself. You know, I didn’t want nobody to say, “Oh, that’s so-and-so’s girlfriend.” I was never going to be so-and-so’s anything. So that was really a way that I wanted to carry myself as an artist. And that’s how I survived, finding my own haven in my secret backyard. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>D-Ray, you’ve been a bit more behind the scenes. In fact, you told me you don’t really do interviews, so it’s a rare treat to have you on this stage. You came up with Thizz Nation when the hyphy movement was taking off, and you were the woman in that boys’ club. What was that experience like?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> Coming up with Thizz Nation was very challenging in the beginning. It was multiple personalities. But lucky them, I grew up with all boys, was able to take that and just be their sister, and so it was really a family. So the highlights, I mean, to be honest with you, is just being able to watch the boys grow, just seeing every state, every city just love them, like show them real energy of, “I love what you guys are doing. I love this movement.” You know, go to other states and they’re doing sideshows. It’s what, 24 years later and \u003ca href=\"https://www.kqed.org/arts/13929461/at-mistah-f-a-b-s-hyphy-tour-going-dumb-was-spiritual\">people are still excited to go do hyphy shit\u003c/a>, you know what I mean? Hyphy was an energy, and the boys had it.\u003c/p>\n\u003cp>And when Dre had this dream to do that with the boys, and we followed through with the dream of Dre after he passed away, it was a beautiful thing because it was the whole Bay. It was everybody. I was the only female in the actual machine running it. So did I feel awkward? No. Nobody messed with me. My brothers never let nothing bad happen to me. I’ll say this, I won’t say who, but I’ve socked two dudes in the chest for being disrespectful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The idea that hard times don’t last is often summed up in the saying, “this too shall pass.” Unfortunately, that concept applies to the good times as well. On today’s show, we’re passing the microphone to an amazing duo who know both ends of the spectrum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Dr. Felicia Gangloff- Bailey and Karega Bailey, are hosts of the SOL Affirmations podcast and we’re amplifying their recent episode called, “The Gift of Impermanence.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Karega and Felicia are both educators, and members of the R&B-soul-hip-hop band SOL Development. They’re also a married couple who’ve navigated the harsh realities of losing loved ones to gun violence, as well as the unfortunate passing of their first child as a newborn, as they’ve previously discussed \u003ca href=\"https://www.kqed.org/arts/13879924/felicia-and-karega-are-angel-parents\" target=\"_blank\" rel=\"noopener\">on Rightnowish\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During “The Gift of Impermanence”, Felicia and Karega talk about taking a recent trip with their two year-old, Kamali. They realize how much their child has grown and that with growth, there is both beauty and struggle. While\u003c/span> reflecting on the experience, they share how it stands as an ever-important reminder to be present, because no matter what you’re going through– good or bad– this too shall pass.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6929578590&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The idea that hard times don’t last is often summed up in the saying, “this too shall pass.” Unfortunately, that concept applies to the good times as well. On today’s show, we’re passing the microphone to an amazing duo who know both ends of the spectrum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Dr. Felicia Gangloff- Bailey and Karega Bailey, are hosts of the SOL Affirmations podcast and we’re amplifying their recent episode called, “The Gift of Impermanence.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Karega and Felicia are both educators, and members of the R&B-soul-hip-hop band SOL Development. They’re also a married couple who’ve navigated the harsh realities of losing loved ones to gun violence, as well as the unfortunate passing of their first child as a newborn, as they’ve previously discussed \u003ca href=\"https://www.kqed.org/arts/13879924/felicia-and-karega-are-angel-parents\" target=\"_blank\" rel=\"noopener\">on Rightnowish\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During “The Gift of Impermanence”, Felicia and Karega talk about taking a recent trip with their two year-old, Kamali. They realize how much their child has grown and that with growth, there is both beauty and struggle. While\u003c/span> reflecting on the experience, they share how it stands as an ever-important reminder to be present, because no matter what you’re going through– good or bad– this too shall pass.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6929578590&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Jacka: In Search of Allah on the Mic",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a characteristic East Oakland scene: On the night of Feb. 2, 2015, a group of friends sat in their car on 94th Avenue and MacArthur Boulevard in East Oakland, taking turns rapping. Another group, including Dominick Newton, stood on the sidewalk, watching the fun go down. As the vibes continued, all was good.\u003c/p>\n\u003cp>Suddenly, around 8:15 p.m, a car slid by spitting bullets at the parked car. Newton was hit in the head. A neighbor tried to slow the bleeding with a towel until medics arrived, but Newton, known in Islamic circles as Shaheed Akbar, \u003ca href=\"https://www.kqed.org/arts/10357773/the-jacka-killed-in-oakland-shooting\">died at Eden Medical Center\u003c/a> a few hours later.\u003c/p>\n\u003cp>[aside postID='arts_13923938']If you really knew the gangsta rap scene well, you knew Newton as \u003ca href=\"https://www.instagram.com/jackamobfigaz/?hl=en\">The Jacka\u003c/a>. Hailing from Pittsburg, California, Jacka was respected around the world for his violently visual lyrics laced with positive Islamic undertones. The murder of the 37-year-old rapper \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\">shook the Bay Area rap world to its core\u003c/a>, and his killers have never been caught.\u003c/p>\n\u003cp>Very few murders of rappers are ever solved. The shootings of \u003ca href=\"https://www.kqed.org/arts/13869588/slow-burn-season-3-is-taking-on-the-murders-of-biggie-and-tupac\">Tupac Shakur\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">Mac Dre\u003c/a> and \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">The Jacka\u003c/a>, along with the\u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\"> death of Zion I’s Zumbi\u003c/a> under suspicious circumstances at Alta Bates Medical Center, remain conspicuously unsolved or ignored by local police departments. For many, this can feel like deliberate psychological warfare on Black America; piles upon piles of cold cases leave grieving families and fans hollow from the pain inside.\u003c/p>\n\u003cfigure id=\"attachment_13931803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg\" alt=\"\" width=\"1920\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, in contemplation between takes, recording at 17 Hertz Studios in Hayward. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, a rapper’s murder becomes their identity, eclipsing their artistry. In death, most rappers’ music fades under the algorithms as new artists and sounds try to claw their way to the top. Many die with no legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But The Jacka was different. His legacy in rap shines bright as the light from the East. Why is that so? The most common answer, for most who knew him well, is Islam.\u003c/p>\n\u003ch2>A Black crescent over The Bay\u003c/h2>\n\u003cp>To those outside of hip-hop, Islam’s influence on the art form might seem unlikely. But if you know that the seeds of hip-hop were sown in Black American ghettos, and understand their history, it makes perfect sense.\u003c/p>\n\u003cp>The religion of Islam arrived in America within the hearts of Muslims trapped in the hulls of ships during the transatlantic slave trade. Some of them were \u003ca href=\"https://www.youtube.com/watch?v=qXVAE4eMFn8\">legitimate royalty\u003c/a>, and intellectually miles above those who kidnapped, tortured and sold their people. Centuries of this brutal treatment, along with Jim Crow, redlining and other racist policies, created the degraded living environment of the 1970s American ghetto.\u003c/p>\n\u003cp>[aside postID='arts_13924126']Rap music arose in these hoods like a divine phoenix from of the ashes of the civil rights era, during which the United States government demolished radical Black Power movements (and their \u003ca href=\"https://www.politico.com/news/magazine/2020/05/03/us-history-first-women-terrorist-group-191037\">white allies\u003c/a>). As rap music got its baby legs, the crack epidemic and an unprecedented \u003ca href=\"https://www.youtube.com/watch?v=XWX562Q8t38\">wave of gang violence\u003c/a> spread across the country.\u003c/p>\n\u003cp>Those in Black neighborhoods lucky enough to avoid being murdered usually did some time in jail. Poet Sonia Sanchez once remarked that, for Black men, prison was the first time they were able to be still and think. Copies of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Autobiography_of_Malcolm_X\">The Autobiography of Malcolm X\u003c/a>\u003c/em> and Elijah Muhammad’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Message_to_the_Blackman_in_America\">Message to the Blackman in America\u003c/a>\u003c/em> circulated, and the \u003ca href=\"https://www.youtube.com/watch?v=AJZ6lxgQjiM\">5% Nation of Gods and Earths\u003c/a> grew in American prisons.\u003c/p>\n\u003cp>In the late 1980s and early 1990s, African American Sunni Muslims and followers of the Nation of Islam helped the hood thrive with new dignity, negotiating truces among warring gangs and creating entrepreneurial businesses. Among the gang violence and crack epidemic of the era, the Muslim message of self-reliance and living a clean lifestyle held an understandable appeal.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parallel with the rise of hip-hop, Islam gave young Black people an understanding of their history before slavery. It highlighted Black achievements in math, science, art and literature that weren’t taught in the racially bigoted American education system. While both Black and Islamic societies were often framed in America’s schools as savage, rap became the pathway by which many Black kids learned about Black and Muslim history and culture.\u003c/p>\n\u003cp>The impact on hip-hop was immeasurable.\u003c/p>\n\u003cp>“In the 1980s, the rising despair, unemployment rates, violence and cases of police brutality fomented conditions that made the Black nationalist message of self-determination, racial pride and self-defense more attractive,” says Dr. Jeffrey O.G. Ogbar, author of \u003cem>Hip-Hop Revolution: The Culture and Politics of Rap\u003c/em>. “Malcolm X, the former spokesman for the Nation of Islam, was sampled by everyone from Public Enemy to Ice Cube. Simultaneously, the current head of the Nation of Islam, Louis Farrakhan, was ascending in popularity among the hip-hop generation.”\u003c/p>\n\u003cp>Zaheed, a.k.a. \u003ca href=\"https://www.instagram.com/mobmanagement/?hl=en\">Big Za\u003c/a> from Richmond, was one of the early young Muslims to convert in that late-’80s, early-’90s era.\u003c/p>\n\u003cp>“Rap had consciousness to it and it had substance to it,” Za recalls. He names \u003ca href=\"https://www.youtube.com/watch?v=h1vKOchATXs\">Boogie Down Productions\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jo83vZkS8Zc\">Public Enemy\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rhEQ43gGTuU\">Brand Nubian\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Ze0C08bkPJY\">Big Daddy Kane\u003c/a> as long-distance teachers to millions of Black youth. The influence of the Nation of Islam, Malcolm X and Oakland’s Black Panthers pulsed in their veins.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9SatYcmmSWA\u003c/p>\n\u003cp>Big Za swung on a deadly pendulum between the cocaine-powdered street corners and a love for the Qu’ran. He was not alone: In 1991, the West Coast success of Ice Cube’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Death Certificate\u003c/a>\u003c/em> and Da Lench Mob’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Guerillas in The Mist\u003c/a>\u003c/em> brought an intoxicating balance of Black Panther militance with Islamic spiritual conviction.\u003c/p>\n\u003cp>Meanwhile, albums arrived from Bay Area rappers like Paris with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-RSQqcvvmp4\">The Devil Made Me Do It\u003c/a>\u003c/em>, Askari X with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SatYcmmSWA\">Ward of the State \u003c/a>\u003c/em>and the Ansārs with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TSnLtTdiG_s\">Righteous Black Guerillas\u003c/a>\u003c/em>, keeping the streets aflame with militant \u003ca href=\"https://www.youtube.com/watch?v=rXiK47eSncw\">anti-war\u003c/a>, anti-police abuse lyrics.\u003c/p>\n\u003cp>To government officials, church leaders and white America at large, these fearless, militant Black men in rap were cause for full-blown alarm. Black Islam-infused rap lyrics were feeding the minds and hearts of millions of young Black men and women.\u003c/p>\n\u003cp>Young aspiring rapper Dominick Newton was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Straight outta Pittsburg\u003c/h2>\n\u003cp>Newton was born in Phoenix, Arizona to young teenage parents before moving to Richmond. Family life was hard, and in the late ’80s, along with many other Black families, Newton moved to Pittsburg. Despite being new to town, he quickly got along with pretty much everyone.\u003c/p>\n\u003cp>Jacka’s former manager \u003ca href=\"https://www.instagram.com/goldenmeanpk/?hl=en\">PK\u003c/a> was just 15 when he met Newton through a mutual friend known as Tron, sometime around 1994. PK and Tron both went to De La Salle High School in Concord. Jacka cut hair on the side for cash, and PK and Tron would often be at Jacka’s place to get a fade or to just hang out.\u003c/p>\n\u003cp>PK can still recall his first impression of Newton. “He was a cool dude. You wanted to be around him. He made people feel good about themselves just being around him,” he says. After attending USC and moving back to the Bay Area, PK reconnected with Newton, who asked PK to be his manager. Their partnership would last until Jacka’s death.\u003c/p>\n\u003cp>[pullquote size='large' citation='Husalah']It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine.[/pullquote]\u003c/p>\n\u003cp>But before he was known as The Jacka, Newton recorded with his friend FedX at the Pittsburg home of then-undiscovered producer \u003ca href=\"https://www.instagram.com/robloblahkop/?hl=en\">RobLo\u003c/a>. “They had a song out back then called ‘\u003ca href=\"https://www.youtube.com/watch?v=YX0Cv1oEnL8\">Million Dollar Dream\u003c/a>,’ under the group name Fatal Mentality,” PK says.\u003c/p>\n\u003cp>Through RobLo, Newton met Husalah, an aspiring rapper who played first-chair trumpet in high school. His grandfather had introduced him to the beauty of jazz, but he grew to love rap more. Huslah was raised in Pittsburg on “the project side of town,” and connected with Newton at RobLo’s house, which was central for many teen boys in the ‘hood at that time.\u003c/p>\n\u003cfigure id=\"attachment_13931809\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Along with close friend the Jacka, Husalah (above) found a way out of dire circumstances through music. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Husalah says of meeting Jacka, “He was one of the coolest dudes. He didn’t have to act tough or act hard. He hung with all the tough guys and all the square guys. We were learning how to rhyme, and how to make intricate rhyme patterns. Our styles were all over the place.”\u003c/p>\n\u003cp>Husalah recounts how drug dealing permeated their circle. The schools and the streets had them “indoctrinated with self-hate. It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine. Almost everyone you knew had a physical vice. Aunties, uncles, parents, neighbors. Crack cocaine was everywhere.”\u003c/p>\n\u003cp>Music and searching for a higher power through Islam became pathways out for both of them.\u003cbr>\n\u003c/p>\n\u003ch2>Thugs in the masjid\u003c/h2>\n\u003cp>Before long, Jacka, \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\">Husalah\u003c/a>, his cousin \u003ca href=\"https://www.instagram.com/klydesta/?hl=en\">Rydah J. Clyde\u003c/a>, \u003ca href=\"https://www.instagram.com/mobfigaz_ap9/?hl=en\">AP-9\u003c/a> and \u003ca href=\"https://www.instagram.com/fedx_mobfigaz/?hl=en\">FedX\u003c/a> came together to create the group \u003ca href=\"https://www.youtube.com/shorts/f5CfU2pSUqY\">Mob Figaz\u003c/a>. Their music quickly took over the streets with RobLo’s hypnotic mix of Bay Area basslines, hard drums and emotionally shifting samples. Sacramento gangsta rapper C-Bo was impressed by their lyricism and authenticity, and agreed to put out their debut album. \u003cem>C-Bo’s Mob Figaz\u003c/em> moved more than 100,000 units with almost zero support from local radio. The streets, however, validated their sound and their flow.\u003c/p>\n\u003cfigure id=\"attachment_13931802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931802\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg\" alt=\"\" width=\"1920\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1536x1200.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mob Figaz. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, Jacka got caught for some robberies in the East Bay. At that point, he had already studied the Nation of Islam theology under Oakland’s Dr. Yusuf Bey. While locked up, though, Jacka was exposed to the Orthodox practice of Sunni Islam, and his mind and music began to expand.\u003c/p>\n\u003cp>According to Big Za, after serving time in Santa Rita Jail, Newton took Shahada, the Islamic testimony that affirms one’s faith. Big Za and his friend Shak had taken Shahada in 1991; Shak was involved in a murder case in 1995 and met Newton in Santa Rita. Behind the cold steel and cement walls of the jail, Shak taught Jacka how to pray and gave him his Islamic foundation. Not long after, Jacka took on the Islamic name Shaheed Akbar.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to a playlist of songs by the Jacka influenced by Islam, curated by his former manager PK:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/2JDsWmFPJDkccZa7WuKYlB?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Obviously there is a clash between how young men like Jacka know they should be living and the backdrop of soul-scorching poverty, addiction and miseducation. Unfortunately, few support systems exist for new converts stuck between the Detroit Red lifestyle of a young Malcolm X and the cultivation of a higher self. For converts like Big Za, Jacka and millions of others, the Shahada does not always mean an immediate 180-degree turn from the life they’ve been living.\u003c/p>\n\u003cp>[aside postID='arts_13928550']Also, like Tupac, Jacka had respect from East Coast rappers with real street credibility. His relationships with Cormega, \u003ca href=\"https://www.youtube.com/watch?v=AS670D0j7UQ\">Freeway\u003c/a>, Beanie Sigel and many others were truly unique.\u003c/p>\n\u003cp>As PK points out, it helped that Freeway and Beanie Sigel were also Sunni Muslim. “But I think it was because he was a real rapper, an MC with skills,” he adds. When they came out to California, they got firsthand proof that what Jacka rapped about was authentic. “Whether it’s the sideshows, the guns, the drugs — all that stuff is really happening out here. Then they were like ‘OK, this dude is real.’”\u003c/p>\n\u003cp>That magnitude of respect from the East Coast was rare for a Bay Area rapper. “Other than Pac, I never saw anybody get love like that,” PK recounts.\u003c/p>\n\u003ch2>Deeper than rap\u003c/h2>\n\u003cp>As Jacka’s star rose, instead of staying in the streets or partying 24/7, he could often be seen in Richmond’s Masjid An-Noor on Cutting Boulevard. Filled with books and ruby-red rugs, the mosque provided Jacka with solace in searching for Allah.\u003c/p>\n\u003cfigure id=\"attachment_13931804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IR3725868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the hyphy era, the Jacka remained close with others who weren’t necessarily on his same spiritual path. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He could just as easily be over at Masjid Al-Islam on 82nd and MacArthur in Oakland — or anywhere he could continue his search for knowledge and a higher understanding of Islamic philosophy. Kevin, a.k.a. K9, his former assistant manager, says that “Islam spoke to more of the realities that he was seeing. He got interested and read the Qu’ran in jail, and went back to it often.”\u003c/p>\n\u003cp>K9 recalls a day in 2008, when Jacka brought him to Rumi Bookstore in Fremont, owned by respected teacher \u003ca href=\"https://www.youtube.com/watch?v=NEfyDMkdlxI&t=20s\">Feraidoon Mojadedi\u003c/a>. Jacka bought up a series of lectures from Zaytuna College Founder Hamza Yusuf. One of the books recommended to him was called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=bp9KifxHZy8&list=PLNVqarhUYzInkISPRcMVFnUjnqFMFdpu6\">Purification of the Heart\u003c/a>\u003c/em>, a Mauritanian sacred text from 1844 CE about the spiritual diseases of the heart (greed, anger, jealousy) and their cures.\u003c/p>\n\u003cp>[aside postID='arts_13874024']After studying the text deeply in 2009, Jacka released \u003ca href=\"https://www.youtube.com/watch?v=ss_z3d6sV2Q\">a song with the same title\u003c/a>. A rap song with Islamic themes — the streets went nuts for it.\u003c/p>\n\u003cp>When asked how such an unlikely situation could unfold, Mojadedi says that Jacka “was with the right people, in the right place, with the right intention.”\u003c/p>\n\u003cp>Those intentions took The Jacka across the planet, something most kids from the Bay can only dream of.\u003c/p>\n\u003ch2>Writing without a pen\u003c/h2>\n\u003cp>Philadelphia rapper \u003ca href=\"https://www.instagram.com/phillyfreeway/?hl=en\">Freeway\u003c/a> met Jacka in 2001 while on tour with Jay-Z in Oakland. Once they connected, they never stopped working together, be it in the studio or learning about their faith. They traveled across Africa together in 2012, and went on a lecture tour in the UK in 2014 on the topic of Islam and hip-hop.\u003c/p>\n\u003cp>“I realized that they [Bay Area rappers like Jacka] were just like me,” Freeway says today. “They were living just like me. They were Muslim, but they were on the West Coast.”\u003c/p>\n\u003cfigure id=\"attachment_13931806\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg\" alt=\"\" width=\"1920\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka, photographer D-Ray and Nipsey Hussle backstage at the New Parish nightclub in Oakland, 2013. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the studio, Freeway says, Jacka was a force of nature.\u003c/p>\n\u003cp>“He mastered writing [songs] without a pen. He would write in his phone. But by the time he got to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8I4QJ4F_mgg\">What Happened to the World\u003c/a>\u003c/em>, he said, ‘Yeah Free, I mastered writing [whole songs] without a pen.’” Jacka was keeping whole songs complete, in his head, with no paper and no phone.\u003c/p>\n\u003cp>While on tour together, Freeway says he saw Jacka literally give people the shirt off his back: “He would get an outfit for the tour. Then when he got off stage he would give the hoodie away. When he died it affected me more than with some people I grew up with. That’s how much our hearts connected.”\u003c/p>\n\u003cfigure id=\"attachment_13931801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC_0507.jpg\" alt=\"\" width=\"1920\" height=\"1767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-800x736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1020x939.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-768x707.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1536x1414.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A roadside memorial for The Jacka near the intersection of 94th and MacArthur in East Oakland, shortly after his murder in 2015. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeway was not alone in that feeling. Bay Area rap fans and Muslims across the planet are still mourning Dominick Newton, a.k.a. the Jacka, a.k.a. Shaheed Akbar. However, his impact on the streets — and in the hearts of young Muslims — will remain through his music for decades to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">Adisa Banjoko\u003c/a> is an author and curator of hip-hop history. In 2015, he delivered a lecture on The Jacka and Malcolm X at the \u003ca href=\"https://vimeo.com/120733251\">Malcolm X 50 Conference at Lehigh University\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect that Newton was born in Phoenix, Ariz., and not Richmond, Calif. as originally stated. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Islam and Bay Area hip-hop have intertwined since the 1980s. For the Jacka, the overlap was deeply personal.",
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"title": "The Jacka: In Search of Allah on the Mic | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a characteristic East Oakland scene: On the night of Feb. 2, 2015, a group of friends sat in their car on 94th Avenue and MacArthur Boulevard in East Oakland, taking turns rapping. Another group, including Dominick Newton, stood on the sidewalk, watching the fun go down. As the vibes continued, all was good.\u003c/p>\n\u003cp>Suddenly, around 8:15 p.m, a car slid by spitting bullets at the parked car. Newton was hit in the head. A neighbor tried to slow the bleeding with a towel until medics arrived, but Newton, known in Islamic circles as Shaheed Akbar, \u003ca href=\"https://www.kqed.org/arts/10357773/the-jacka-killed-in-oakland-shooting\">died at Eden Medical Center\u003c/a> a few hours later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you really knew the gangsta rap scene well, you knew Newton as \u003ca href=\"https://www.instagram.com/jackamobfigaz/?hl=en\">The Jacka\u003c/a>. Hailing from Pittsburg, California, Jacka was respected around the world for his violently visual lyrics laced with positive Islamic undertones. The murder of the 37-year-old rapper \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\">shook the Bay Area rap world to its core\u003c/a>, and his killers have never been caught.\u003c/p>\n\u003cp>Very few murders of rappers are ever solved. The shootings of \u003ca href=\"https://www.kqed.org/arts/13869588/slow-burn-season-3-is-taking-on-the-murders-of-biggie-and-tupac\">Tupac Shakur\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">Mac Dre\u003c/a> and \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">The Jacka\u003c/a>, along with the\u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\"> death of Zion I’s Zumbi\u003c/a> under suspicious circumstances at Alta Bates Medical Center, remain conspicuously unsolved or ignored by local police departments. For many, this can feel like deliberate psychological warfare on Black America; piles upon piles of cold cases leave grieving families and fans hollow from the pain inside.\u003c/p>\n\u003cfigure id=\"attachment_13931803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg\" alt=\"\" width=\"1920\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, in contemplation between takes, recording at 17 Hertz Studios in Hayward. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, a rapper’s murder becomes their identity, eclipsing their artistry. In death, most rappers’ music fades under the algorithms as new artists and sounds try to claw their way to the top. Many die with no legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But The Jacka was different. His legacy in rap shines bright as the light from the East. Why is that so? The most common answer, for most who knew him well, is Islam.\u003c/p>\n\u003ch2>A Black crescent over The Bay\u003c/h2>\n\u003cp>To those outside of hip-hop, Islam’s influence on the art form might seem unlikely. But if you know that the seeds of hip-hop were sown in Black American ghettos, and understand their history, it makes perfect sense.\u003c/p>\n\u003cp>The religion of Islam arrived in America within the hearts of Muslims trapped in the hulls of ships during the transatlantic slave trade. Some of them were \u003ca href=\"https://www.youtube.com/watch?v=qXVAE4eMFn8\">legitimate royalty\u003c/a>, and intellectually miles above those who kidnapped, tortured and sold their people. Centuries of this brutal treatment, along with Jim Crow, redlining and other racist policies, created the degraded living environment of the 1970s American ghetto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rap music arose in these hoods like a divine phoenix from of the ashes of the civil rights era, during which the United States government demolished radical Black Power movements (and their \u003ca href=\"https://www.politico.com/news/magazine/2020/05/03/us-history-first-women-terrorist-group-191037\">white allies\u003c/a>). As rap music got its baby legs, the crack epidemic and an unprecedented \u003ca href=\"https://www.youtube.com/watch?v=XWX562Q8t38\">wave of gang violence\u003c/a> spread across the country.\u003c/p>\n\u003cp>Those in Black neighborhoods lucky enough to avoid being murdered usually did some time in jail. Poet Sonia Sanchez once remarked that, for Black men, prison was the first time they were able to be still and think. Copies of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Autobiography_of_Malcolm_X\">The Autobiography of Malcolm X\u003c/a>\u003c/em> and Elijah Muhammad’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Message_to_the_Blackman_in_America\">Message to the Blackman in America\u003c/a>\u003c/em> circulated, and the \u003ca href=\"https://www.youtube.com/watch?v=AJZ6lxgQjiM\">5% Nation of Gods and Earths\u003c/a> grew in American prisons.\u003c/p>\n\u003cp>In the late 1980s and early 1990s, African American Sunni Muslims and followers of the Nation of Islam helped the hood thrive with new dignity, negotiating truces among warring gangs and creating entrepreneurial businesses. Among the gang violence and crack epidemic of the era, the Muslim message of self-reliance and living a clean lifestyle held an understandable appeal.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parallel with the rise of hip-hop, Islam gave young Black people an understanding of their history before slavery. It highlighted Black achievements in math, science, art and literature that weren’t taught in the racially bigoted American education system. While both Black and Islamic societies were often framed in America’s schools as savage, rap became the pathway by which many Black kids learned about Black and Muslim history and culture.\u003c/p>\n\u003cp>The impact on hip-hop was immeasurable.\u003c/p>\n\u003cp>“In the 1980s, the rising despair, unemployment rates, violence and cases of police brutality fomented conditions that made the Black nationalist message of self-determination, racial pride and self-defense more attractive,” says Dr. Jeffrey O.G. Ogbar, author of \u003cem>Hip-Hop Revolution: The Culture and Politics of Rap\u003c/em>. “Malcolm X, the former spokesman for the Nation of Islam, was sampled by everyone from Public Enemy to Ice Cube. Simultaneously, the current head of the Nation of Islam, Louis Farrakhan, was ascending in popularity among the hip-hop generation.”\u003c/p>\n\u003cp>Zaheed, a.k.a. \u003ca href=\"https://www.instagram.com/mobmanagement/?hl=en\">Big Za\u003c/a> from Richmond, was one of the early young Muslims to convert in that late-’80s, early-’90s era.\u003c/p>\n\u003cp>“Rap had consciousness to it and it had substance to it,” Za recalls. He names \u003ca href=\"https://www.youtube.com/watch?v=h1vKOchATXs\">Boogie Down Productions\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jo83vZkS8Zc\">Public Enemy\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rhEQ43gGTuU\">Brand Nubian\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Ze0C08bkPJY\">Big Daddy Kane\u003c/a> as long-distance teachers to millions of Black youth. The influence of the Nation of Islam, Malcolm X and Oakland’s Black Panthers pulsed in their veins.\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/9SatYcmmSWA'\n title='//www.youtube.com/embed/9SatYcmmSWA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Big Za swung on a deadly pendulum between the cocaine-powdered street corners and a love for the Qu’ran. He was not alone: In 1991, the West Coast success of Ice Cube’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Death Certificate\u003c/a>\u003c/em> and Da Lench Mob’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Guerillas in The Mist\u003c/a>\u003c/em> brought an intoxicating balance of Black Panther militance with Islamic spiritual conviction.\u003c/p>\n\u003cp>Meanwhile, albums arrived from Bay Area rappers like Paris with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-RSQqcvvmp4\">The Devil Made Me Do It\u003c/a>\u003c/em>, Askari X with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SatYcmmSWA\">Ward of the State \u003c/a>\u003c/em>and the Ansārs with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TSnLtTdiG_s\">Righteous Black Guerillas\u003c/a>\u003c/em>, keeping the streets aflame with militant \u003ca href=\"https://www.youtube.com/watch?v=rXiK47eSncw\">anti-war\u003c/a>, anti-police abuse lyrics.\u003c/p>\n\u003cp>To government officials, church leaders and white America at large, these fearless, militant Black men in rap were cause for full-blown alarm. Black Islam-infused rap lyrics were feeding the minds and hearts of millions of young Black men and women.\u003c/p>\n\u003cp>Young aspiring rapper Dominick Newton was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Straight outta Pittsburg\u003c/h2>\n\u003cp>Newton was born in Phoenix, Arizona to young teenage parents before moving to Richmond. Family life was hard, and in the late ’80s, along with many other Black families, Newton moved to Pittsburg. Despite being new to town, he quickly got along with pretty much everyone.\u003c/p>\n\u003cp>Jacka’s former manager \u003ca href=\"https://www.instagram.com/goldenmeanpk/?hl=en\">PK\u003c/a> was just 15 when he met Newton through a mutual friend known as Tron, sometime around 1994. PK and Tron both went to De La Salle High School in Concord. Jacka cut hair on the side for cash, and PK and Tron would often be at Jacka’s place to get a fade or to just hang out.\u003c/p>\n\u003cp>PK can still recall his first impression of Newton. “He was a cool dude. You wanted to be around him. He made people feel good about themselves just being around him,” he says. After attending USC and moving back to the Bay Area, PK reconnected with Newton, who asked PK to be his manager. Their partnership would last until Jacka’s death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But before he was known as The Jacka, Newton recorded with his friend FedX at the Pittsburg home of then-undiscovered producer \u003ca href=\"https://www.instagram.com/robloblahkop/?hl=en\">RobLo\u003c/a>. “They had a song out back then called ‘\u003ca href=\"https://www.youtube.com/watch?v=YX0Cv1oEnL8\">Million Dollar Dream\u003c/a>,’ under the group name Fatal Mentality,” PK says.\u003c/p>\n\u003cp>Through RobLo, Newton met Husalah, an aspiring rapper who played first-chair trumpet in high school. His grandfather had introduced him to the beauty of jazz, but he grew to love rap more. Huslah was raised in Pittsburg on “the project side of town,” and connected with Newton at RobLo’s house, which was central for many teen boys in the ‘hood at that time.\u003c/p>\n\u003cfigure id=\"attachment_13931809\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Along with close friend the Jacka, Husalah (above) found a way out of dire circumstances through music. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Husalah says of meeting Jacka, “He was one of the coolest dudes. He didn’t have to act tough or act hard. He hung with all the tough guys and all the square guys. We were learning how to rhyme, and how to make intricate rhyme patterns. Our styles were all over the place.”\u003c/p>\n\u003cp>Husalah recounts how drug dealing permeated their circle. The schools and the streets had them “indoctrinated with self-hate. It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine. Almost everyone you knew had a physical vice. Aunties, uncles, parents, neighbors. Crack cocaine was everywhere.”\u003c/p>\n\u003cp>Music and searching for a higher power through Islam became pathways out for both of them.\u003cbr>\n\u003c/p>\n\u003ch2>Thugs in the masjid\u003c/h2>\n\u003cp>Before long, Jacka, \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\">Husalah\u003c/a>, his cousin \u003ca href=\"https://www.instagram.com/klydesta/?hl=en\">Rydah J. Clyde\u003c/a>, \u003ca href=\"https://www.instagram.com/mobfigaz_ap9/?hl=en\">AP-9\u003c/a> and \u003ca href=\"https://www.instagram.com/fedx_mobfigaz/?hl=en\">FedX\u003c/a> came together to create the group \u003ca href=\"https://www.youtube.com/shorts/f5CfU2pSUqY\">Mob Figaz\u003c/a>. Their music quickly took over the streets with RobLo’s hypnotic mix of Bay Area basslines, hard drums and emotionally shifting samples. Sacramento gangsta rapper C-Bo was impressed by their lyricism and authenticity, and agreed to put out their debut album. \u003cem>C-Bo’s Mob Figaz\u003c/em> moved more than 100,000 units with almost zero support from local radio. The streets, however, validated their sound and their flow.\u003c/p>\n\u003cfigure id=\"attachment_13931802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931802\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg\" alt=\"\" width=\"1920\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1536x1200.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mob Figaz. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, Jacka got caught for some robberies in the East Bay. At that point, he had already studied the Nation of Islam theology under Oakland’s Dr. Yusuf Bey. While locked up, though, Jacka was exposed to the Orthodox practice of Sunni Islam, and his mind and music began to expand.\u003c/p>\n\u003cp>According to Big Za, after serving time in Santa Rita Jail, Newton took Shahada, the Islamic testimony that affirms one’s faith. Big Za and his friend Shak had taken Shahada in 1991; Shak was involved in a murder case in 1995 and met Newton in Santa Rita. Behind the cold steel and cement walls of the jail, Shak taught Jacka how to pray and gave him his Islamic foundation. Not long after, Jacka took on the Islamic name Shaheed Akbar.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to a playlist of songs by the Jacka influenced by Islam, curated by his former manager PK:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/2JDsWmFPJDkccZa7WuKYlB?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Obviously there is a clash between how young men like Jacka know they should be living and the backdrop of soul-scorching poverty, addiction and miseducation. Unfortunately, few support systems exist for new converts stuck between the Detroit Red lifestyle of a young Malcolm X and the cultivation of a higher self. For converts like Big Za, Jacka and millions of others, the Shahada does not always mean an immediate 180-degree turn from the life they’ve been living.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also, like Tupac, Jacka had respect from East Coast rappers with real street credibility. His relationships with Cormega, \u003ca href=\"https://www.youtube.com/watch?v=AS670D0j7UQ\">Freeway\u003c/a>, Beanie Sigel and many others were truly unique.\u003c/p>\n\u003cp>As PK points out, it helped that Freeway and Beanie Sigel were also Sunni Muslim. “But I think it was because he was a real rapper, an MC with skills,” he adds. When they came out to California, they got firsthand proof that what Jacka rapped about was authentic. “Whether it’s the sideshows, the guns, the drugs — all that stuff is really happening out here. Then they were like ‘OK, this dude is real.’”\u003c/p>\n\u003cp>That magnitude of respect from the East Coast was rare for a Bay Area rapper. “Other than Pac, I never saw anybody get love like that,” PK recounts.\u003c/p>\n\u003ch2>Deeper than rap\u003c/h2>\n\u003cp>As Jacka’s star rose, instead of staying in the streets or partying 24/7, he could often be seen in Richmond’s Masjid An-Noor on Cutting Boulevard. Filled with books and ruby-red rugs, the mosque provided Jacka with solace in searching for Allah.\u003c/p>\n\u003cfigure id=\"attachment_13931804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IR3725868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the hyphy era, the Jacka remained close with others who weren’t necessarily on his same spiritual path. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He could just as easily be over at Masjid Al-Islam on 82nd and MacArthur in Oakland — or anywhere he could continue his search for knowledge and a higher understanding of Islamic philosophy. Kevin, a.k.a. K9, his former assistant manager, says that “Islam spoke to more of the realities that he was seeing. He got interested and read the Qu’ran in jail, and went back to it often.”\u003c/p>\n\u003cp>K9 recalls a day in 2008, when Jacka brought him to Rumi Bookstore in Fremont, owned by respected teacher \u003ca href=\"https://www.youtube.com/watch?v=NEfyDMkdlxI&t=20s\">Feraidoon Mojadedi\u003c/a>. Jacka bought up a series of lectures from Zaytuna College Founder Hamza Yusuf. One of the books recommended to him was called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=bp9KifxHZy8&list=PLNVqarhUYzInkISPRcMVFnUjnqFMFdpu6\">Purification of the Heart\u003c/a>\u003c/em>, a Mauritanian sacred text from 1844 CE about the spiritual diseases of the heart (greed, anger, jealousy) and their cures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After studying the text deeply in 2009, Jacka released \u003ca href=\"https://www.youtube.com/watch?v=ss_z3d6sV2Q\">a song with the same title\u003c/a>. A rap song with Islamic themes — the streets went nuts for it.\u003c/p>\n\u003cp>When asked how such an unlikely situation could unfold, Mojadedi says that Jacka “was with the right people, in the right place, with the right intention.”\u003c/p>\n\u003cp>Those intentions took The Jacka across the planet, something most kids from the Bay can only dream of.\u003c/p>\n\u003ch2>Writing without a pen\u003c/h2>\n\u003cp>Philadelphia rapper \u003ca href=\"https://www.instagram.com/phillyfreeway/?hl=en\">Freeway\u003c/a> met Jacka in 2001 while on tour with Jay-Z in Oakland. Once they connected, they never stopped working together, be it in the studio or learning about their faith. They traveled across Africa together in 2012, and went on a lecture tour in the UK in 2014 on the topic of Islam and hip-hop.\u003c/p>\n\u003cp>“I realized that they [Bay Area rappers like Jacka] were just like me,” Freeway says today. “They were living just like me. They were Muslim, but they were on the West Coast.”\u003c/p>\n\u003cfigure id=\"attachment_13931806\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg\" alt=\"\" width=\"1920\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka, photographer D-Ray and Nipsey Hussle backstage at the New Parish nightclub in Oakland, 2013. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the studio, Freeway says, Jacka was a force of nature.\u003c/p>\n\u003cp>“He mastered writing [songs] without a pen. He would write in his phone. But by the time he got to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8I4QJ4F_mgg\">What Happened to the World\u003c/a>\u003c/em>, he said, ‘Yeah Free, I mastered writing [whole songs] without a pen.’” Jacka was keeping whole songs complete, in his head, with no paper and no phone.\u003c/p>\n\u003cp>While on tour together, Freeway says he saw Jacka literally give people the shirt off his back: “He would get an outfit for the tour. Then when he got off stage he would give the hoodie away. When he died it affected me more than with some people I grew up with. That’s how much our hearts connected.”\u003c/p>\n\u003cfigure id=\"attachment_13931801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC_0507.jpg\" alt=\"\" width=\"1920\" height=\"1767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-800x736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1020x939.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-768x707.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1536x1414.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A roadside memorial for The Jacka near the intersection of 94th and MacArthur in East Oakland, shortly after his murder in 2015. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeway was not alone in that feeling. Bay Area rap fans and Muslims across the planet are still mourning Dominick Newton, a.k.a. the Jacka, a.k.a. Shaheed Akbar. However, his impact on the streets — and in the hearts of young Muslims — will remain through his music for decades to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">Adisa Banjoko\u003c/a> is an author and curator of hip-hop history. In 2015, he delivered a lecture on The Jacka and Malcolm X at the \u003ca href=\"https://vimeo.com/120733251\">Malcolm X 50 Conference at Lehigh University\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect that Newton was born in Phoenix, Ariz., and not Richmond, Calif. as originally stated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Glasper Carries Black Music Into A Post-Hip-Hop World",
"headTitle": "Robert Glasper Carries Black Music Into A Post-Hip-Hop World | KQED",
"content": "\u003cp>[dropcap]“B[/dropcap]lack music is a big house with a lot of rooms,” says pianist, composer, and producer Robert Glasper.\u003c/p>\n\u003cp>A musical unicorn who has crystallized multiple genres into his own distinct brand, Glasper’s genius lays not only in his technical ability and musical acumen, but his willingness to embrace crossover as a necessary – and not unprecedented – aspect of Black music’s evolution and survival. While he prefers the term “musician” to “jazz musician,” he is profoundly aware of jazz’s role as canon, foundation, and inspiration for today’s musical movements — notably hip-hop. \u003c/p>\n\u003cp>Whether it’s Abbey Lincoln and Max Roach on 1960’s “Freedom Dance” foreshadowing Public Enemy’s sociopolitical creed, or jazz samples and breakbeats becoming part of hip-hop’s DNA, “jazz and hip-hop belong together,” Glasper says. “Jazz and hip-hop were born out of necessity. They both were born out of the struggle.”\u003c/p>\n\u003cp>https://www.youtube.com/embed/_PRfWgpsjyw\u003c/p>\n\u003cp>Case in point: “In Tune,” from Glasper’s latest album \u003cem>Black Radio III\u003c/em>. Amir Suleiman’s impassioned spoken-words are elegy, tribute, mourning, and resilience, a callback to the field hollers of pre-emancipation Afro-America. And, by extension, the radical truth of the Last Poets, the Black Arts Movement-identified “godfathers of rap” who developed a poetic style called “spoagraphics” to describe their visual imagery. Instead of conga drums, the heartbeat is Glasper’s piano; past the halfway mark, the song fills out with wafting horns and snare drum hits, becoming transformative and therapeutic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not a hip-hop track per se — there are no 808 beats, no machete-like scratches, no call-and-response chants. But “In Tune” is everything hip-hop ever aspired to be artistically: a marriage of traditional folkloric culture and contemporary relevance.\u003c/p>\n\u003cp>[aside postID='arts_10759782']As the artist-in-residence and co-curator of the annual \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/\">Blue Note Jazz Festival in Napa, running July 28–30\u003c/a>, Glasper has assembled a lineup based on this philosophy of pastiche, bridging the worlds of hip-hop and jazz. Headliners include the “queen of hip-hop soul” Mary J. Blige, Queensbridge emcee Nas, and Chicago’s Chance the Rapper. Glasper plays live sets each of the three days, with special guests De La Soul, Lalah Hathaway, Terrace Martin and Bilal. The undercard is further saturated with the likes of Rakim and DJ Jazzy Jeff, Talib Kweli and Madlib, Digable Planets, Cordae, and host Dave Chappele. \u003c/p>\n\u003cp>In 2023 – a year deemed hip-hop’s 50th anniversary – Glasper knows the culture has become impossible to ignore. “Hip-hop is in itself so huge. It’s like the most global music in the world; every country has hip-hop. It’s been the leading thing in culture – not just in music, but in fashion, in sports. And it’s just so many things, and influenced so many people.”\u003c/p>\n\u003cfigure id=\"attachment_13931658\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Glasper.car_.jpg\" alt=\"A man in a brown jacket, patterned shirt and jeans leans against a luxury sportscar\" width=\"600\" height=\"900\" class=\"size-full wp-image-13931658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Glasper.car_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Glasper.car_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Glasper’s informal education included sessions with Questlove and J. Dilla: ‘I literally learned from the greatest.’ \u003ccite>(Courtesy Blue Note Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a live setting, Glasper says, “some hip hop artists are like having another horn in a jazz band. They’re really able to be in the moment and be able to really empathize with you, but using words, and go wherever you want to go. And that’s an art. That’s a true art.”\u003c/p>\n\u003cp>Rapping skillfully over live music and maintaining the flow of the groove is where the artistry shines, he says. “A lot of cats freestyle, (but) they’re just freestyling to a beat that’s just there, or no beat at all. You’re not freestyling to a band that could change at any moment and go different places and add elements in and out of all these different things.”\u003c/p>\n\u003cp>Glasper points out that seminal hip-hop songs by De La Soul (“Stakes Is High”) and Nas (“The World Is Yours”) both sampled jazz pianist Ahmad Jamal. Chance The Rapper and Cordae are also heavily jazz-influenced, he adds. And not only has Madlib repurposed hundreds if not thousands of jazz records as sample loops, but DJ Jazzy Jeff’s pioneering turntablist track “A Touch of Jazz” includes elements of Marvin Gaye’s “T Plays It Cool,” Bob James’ “Westchester Lady,” and Donald Byrd’s “Change (Makes You Want to Hustle),” alongside booming drums and expressive scratch cuts. \u003c/p>\n\u003cp>https://www.youtube.com/embed/RWJWKcUooTA\u003c/p>\n\u003cp>The Napa festival further accentuates the evolution of jazz culture in the Bay Area, whose history includes a San Francisco residency by New Orleans legend King Oliver in 1921, and excursions into Healdsburg by the San Francisco-based So Different jazz band during the 1920s – a time when jazz embodied the cultural leading edge of social integration efforts. Holding a major Black cultural festival in the heart of California’s wine country represents another giant step, so to speak, towards social equity.\u003c/p>\n\u003cp>“That’s literally what (the Blue Note Jazz Festival) is, the history of jazz, mixing it with all styles of music, and mixing the styles that jazz has influenced. And the big part of this year is 50 years of hip-hop.”\u003c/p>\n\u003ch2>Steeped in Black music’s evolution\u003c/h2>\n\u003cp>Glasper’s history in some ways reflects the history of jazz itself. His musical education began as a young child in Texas, where his mother, a blues and jazz singer and musical director for a Baptist church, brought him along to club dates. His first public performances were in the Black church, where he became steeped in gospel and began to develop his own style of playing. A musical prodigy, he performed with a university jazz band while still in high school.\u003c/p>\n\u003cp>[aside postID='arts_13929248']An early flashpoint was seeing Roy Hargrove freely mix jazz with contemporary genres. When he first saw the trumpeter play live, “I was in high school,” he recalls. “I was like, ‘Oh, man, you could be young, Black, wear sneakers and look like that — and play jazz?’ And then I was like, ‘Oh, you can play jazz \u003cem>and\u003c/em> you could play with D’Angelo? And you can play with Common?’ I saw that in real time in real life. That inspired me.”\u003c/p>\n\u003cp>As a student of the New School for Jazz and Contemporary Music in New York during the late ’90s, he met singer Bilal – who would become a regular collaborator – and became enmeshed the East Coast’s burgeoning neo-soul and hip-hop scenes, which frequently intersected through now-legendary production teams like the Ummah and the Soulquarians.\u003c/p>\n\u003cp>https://www.youtube.com/embed/GcPjI9c8kxY\u003c/p>\n\u003cp>“In college, that’s what was happening around ’97, the neo-soul movement and specifically J. Dilla-infused R&B. So I was really in that scene a lot, working with Bilal, opening up for Erykah Badu and Common, and seeing people like James Poyser, who is one of the big influences on my playing.”\u003c/p>\n\u003cp>Glasper waxes poetically over producers like J. Dilla and Q-Tip, who brought a jazz sensibility to hip-hop tracks like A Tribe Called Quest’s “Lyrics to Go” and Busta Rhymes’ “Still Shining.” “They’re both jazz lovers. Coming from the jazz world, I immediately heard the jazz nuances they would put in their music, in their beats.”\u003c/p>\n\u003cp>[aside postID='arts_13931138']Glasper considers himself fortunate to have witnessed Dilla and Q-Tip’s creative process in intimate settings. “I used to go over Tip’s house and replay samples when I was in college all the time.” His first gigs playing hip-hop were with the Roots, who worked frequently with Dilla at the time. “Literally, the Roots and Dilla pretty much raised me.” \u003c/p>\n\u003cp>From the Philadelphia hip-hop collective, “I learned how to stay in a pocket, and understand how to play (piano) like a sample, by playing with Questlove.” Sometimes, Dilla would be present during these woodshedding sessions. “Me being able to sit across the room with Dilla, him on the MPC, I’m on the keys — I literally learned from the greatest how to do that.”\u003c/p>\n\u003cp>https://www.youtube.com/embed/feNYt7B237M\u003c/p>\n\u003cp>In 2004, he released \u003cem>Mood\u003c/em>, his first album as a bandleader, a fairly traditional jazz trio album of standards and original compositions. The following year, he began his long association with Blue Note Records with the trio album \u003cem>Canvas\u003c/em>. His music began to veer toward fusion with 2007’s \u003cem>In My Element\u003c/em>, which included a cover of Radiohead’s “Everything In Its Right Place.” A 2009 offering, \u003cem>Double Booked\u003c/em>, balanced acoustic trio material with his electric band, The Robert Glasper Experiment, including a track with emcee Yasiin Bey (then known as Mos Def).\u003c/p>\n\u003cp>Then came his 2012 breakthrough \u003cem>Black Radio\u003c/em>, which featured guests Lupe Fiasco, Bilal, Lalah Hathaway, Erykah Badu and Yasiin Bey. Highlights included a Badu-ized version of the jazz standard “Afro Blue” and a decidedly non-grunge take on Nirvana’s “Smells Like Teen Spirit.” The album established Glasper as a commercially successful, forward-thinking artist who could lead jazz music in new directions, engage non-traditional jazz audiences, and do it all in a way that wasn’t cringeworthy. \u003c/p>\n\u003cp>“Here’s the thing, though. Rock is Black music. Hello!,” Glasper proclaims. “A lot of people still to this day don’t understand that (“Teen Spirit”), that’s a song that I’ve always loved. But I also know the roots of that song came from us. That was my reasoning for that and kind of doing it in a more urban way. So then, it speaks to more Black folk that way also.”\u003c/p>\n\u003cp>https://www.youtube.com/embed/KdgWiWrtMZo\u003c/p>\n\u003cp>The tradition of jazz, he says, is rife with artists who expanded the genre by refusing to be pigeonholed, from John Coltrane interpreting “My Favorite Things” and Carmen McRae reimagining The Beatles to Donald Byrd, Herbie Hancock, Roy Ayers and Ramsey Lewis mixing jazz, funk, and R&B. To him, it’s all Black music, which he sees as “a lot of clay” that can be shaped and reformed infinitely. Ultimately, he says, “it all comes from Africa.”\u003c/p>\n\u003ch2>Awards, Tours, and the Festival\u003c/h2>\n\u003cp>Glasper’s stratospheric ascension in recent years has included releasing two more volumes of \u003cem>Black Radio\u003c/em>, along with more straightforward jazz projects, scoring films and documentaries, and collaborating with a host of hip-hop and soul artists – Kendrick Lamar, Mac Miller, Anderson .Paak, Maxwell, Big K.R.I.T., Q-Tip, Talib Kweli, Denzel Curry, Jill Scott, Snoop Dogg, and Common, to name a few.\u003c/p>\n\u003cp>[aside postID='arts_13916940']Along the way, he’s collected all kinds of accolades, including an Emmy and five Grammys, and served as the artist-in-residence at the Blue Note Jazz Festival even before its original New York edition expanded to Napa in 2022.\u003c/p>\n\u003cp>Through it all, he says he feels a sense of responsibility for maintaining jazz’s relevance in a post-hip-hop landscape, where technology has become a cultural driver and true musicianship is undervalued. Music isn’t a program in many schools anymore, he notes, and most music is made on a computer or iPhone.\u003c/p>\n\u003cp>“I feel like I’m a torchbearer, and I’ve got to survive and teach as much as I can and not feel like I’m teaching and not sound like I’m teaching,” he says. “There’s a certain way you got to do it. You just got to do stuff that speaks to people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Blue Note Jazz Festival runs July 28–30 at Silverado Resort in Napa. \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“B\u003c/span>\u003c/p>\u003cp>lack music is a big house with a lot of rooms,” says pianist, composer, and producer Robert Glasper.\u003c/p>\n\u003cp>A musical unicorn who has crystallized multiple genres into his own distinct brand, Glasper’s genius lays not only in his technical ability and musical acumen, but his willingness to embrace crossover as a necessary – and not unprecedented – aspect of Black music’s evolution and survival. While he prefers the term “musician” to “jazz musician,” he is profoundly aware of jazz’s role as canon, foundation, and inspiration for today’s musical movements — notably hip-hop. \u003c/p>\n\u003cp>Whether it’s Abbey Lincoln and Max Roach on 1960’s “Freedom Dance” foreshadowing Public Enemy’s sociopolitical creed, or jazz samples and breakbeats becoming part of hip-hop’s DNA, “jazz and hip-hop belong together,” Glasper says. “Jazz and hip-hop were born out of necessity. They both were born out of the struggle.”\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/_PRfWgpsjyw'\n title='//www.youtube.com/embed/_PRfWgpsjyw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Case in point: “In Tune,” from Glasper’s latest album \u003cem>Black Radio III\u003c/em>. Amir Suleiman’s impassioned spoken-words are elegy, tribute, mourning, and resilience, a callback to the field hollers of pre-emancipation Afro-America. And, by extension, the radical truth of the Last Poets, the Black Arts Movement-identified “godfathers of rap” who developed a poetic style called “spoagraphics” to describe their visual imagery. Instead of conga drums, the heartbeat is Glasper’s piano; past the halfway mark, the song fills out with wafting horns and snare drum hits, becoming transformative and therapeutic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not a hip-hop track per se — there are no 808 beats, no machete-like scratches, no call-and-response chants. But “In Tune” is everything hip-hop ever aspired to be artistically: a marriage of traditional folkloric culture and contemporary relevance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the artist-in-residence and co-curator of the annual \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/\">Blue Note Jazz Festival in Napa, running July 28–30\u003c/a>, Glasper has assembled a lineup based on this philosophy of pastiche, bridging the worlds of hip-hop and jazz. Headliners include the “queen of hip-hop soul” Mary J. Blige, Queensbridge emcee Nas, and Chicago’s Chance the Rapper. Glasper plays live sets each of the three days, with special guests De La Soul, Lalah Hathaway, Terrace Martin and Bilal. The undercard is further saturated with the likes of Rakim and DJ Jazzy Jeff, Talib Kweli and Madlib, Digable Planets, Cordae, and host Dave Chappele. \u003c/p>\n\u003cp>In 2023 – a year deemed hip-hop’s 50th anniversary – Glasper knows the culture has become impossible to ignore. “Hip-hop is in itself so huge. It’s like the most global music in the world; every country has hip-hop. It’s been the leading thing in culture – not just in music, but in fashion, in sports. And it’s just so many things, and influenced so many people.”\u003c/p>\n\u003cfigure id=\"attachment_13931658\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Glasper.car_.jpg\" alt=\"A man in a brown jacket, patterned shirt and jeans leans against a luxury sportscar\" width=\"600\" height=\"900\" class=\"size-full wp-image-13931658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Glasper.car_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Glasper.car_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Glasper’s informal education included sessions with Questlove and J. Dilla: ‘I literally learned from the greatest.’ \u003ccite>(Courtesy Blue Note Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a live setting, Glasper says, “some hip hop artists are like having another horn in a jazz band. They’re really able to be in the moment and be able to really empathize with you, but using words, and go wherever you want to go. And that’s an art. That’s a true art.”\u003c/p>\n\u003cp>Rapping skillfully over live music and maintaining the flow of the groove is where the artistry shines, he says. “A lot of cats freestyle, (but) they’re just freestyling to a beat that’s just there, or no beat at all. You’re not freestyling to a band that could change at any moment and go different places and add elements in and out of all these different things.”\u003c/p>\n\u003cp>Glasper points out that seminal hip-hop songs by De La Soul (“Stakes Is High”) and Nas (“The World Is Yours”) both sampled jazz pianist Ahmad Jamal. Chance The Rapper and Cordae are also heavily jazz-influenced, he adds. And not only has Madlib repurposed hundreds if not thousands of jazz records as sample loops, but DJ Jazzy Jeff’s pioneering turntablist track “A Touch of Jazz” includes elements of Marvin Gaye’s “T Plays It Cool,” Bob James’ “Westchester Lady,” and Donald Byrd’s “Change (Makes You Want to Hustle),” alongside booming drums and expressive scratch cuts. \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/RWJWKcUooTA'\n title='//www.youtube.com/embed/RWJWKcUooTA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Napa festival further accentuates the evolution of jazz culture in the Bay Area, whose history includes a San Francisco residency by New Orleans legend King Oliver in 1921, and excursions into Healdsburg by the San Francisco-based So Different jazz band during the 1920s – a time when jazz embodied the cultural leading edge of social integration efforts. Holding a major Black cultural festival in the heart of California’s wine country represents another giant step, so to speak, towards social equity.\u003c/p>\n\u003cp>“That’s literally what (the Blue Note Jazz Festival) is, the history of jazz, mixing it with all styles of music, and mixing the styles that jazz has influenced. And the big part of this year is 50 years of hip-hop.”\u003c/p>\n\u003ch2>Steeped in Black music’s evolution\u003c/h2>\n\u003cp>Glasper’s history in some ways reflects the history of jazz itself. His musical education began as a young child in Texas, where his mother, a blues and jazz singer and musical director for a Baptist church, brought him along to club dates. His first public performances were in the Black church, where he became steeped in gospel and began to develop his own style of playing. A musical prodigy, he performed with a university jazz band while still in high school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An early flashpoint was seeing Roy Hargrove freely mix jazz with contemporary genres. When he first saw the trumpeter play live, “I was in high school,” he recalls. “I was like, ‘Oh, man, you could be young, Black, wear sneakers and look like that — and play jazz?’ And then I was like, ‘Oh, you can play jazz \u003cem>and\u003c/em> you could play with D’Angelo? And you can play with Common?’ I saw that in real time in real life. That inspired me.”\u003c/p>\n\u003cp>As a student of the New School for Jazz and Contemporary Music in New York during the late ’90s, he met singer Bilal – who would become a regular collaborator – and became enmeshed the East Coast’s burgeoning neo-soul and hip-hop scenes, which frequently intersected through now-legendary production teams like the Ummah and the Soulquarians.\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/GcPjI9c8kxY'\n title='//www.youtube.com/embed/GcPjI9c8kxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In college, that’s what was happening around ’97, the neo-soul movement and specifically J. Dilla-infused R&B. So I was really in that scene a lot, working with Bilal, opening up for Erykah Badu and Common, and seeing people like James Poyser, who is one of the big influences on my playing.”\u003c/p>\n\u003cp>Glasper waxes poetically over producers like J. Dilla and Q-Tip, who brought a jazz sensibility to hip-hop tracks like A Tribe Called Quest’s “Lyrics to Go” and Busta Rhymes’ “Still Shining.” “They’re both jazz lovers. Coming from the jazz world, I immediately heard the jazz nuances they would put in their music, in their beats.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glasper considers himself fortunate to have witnessed Dilla and Q-Tip’s creative process in intimate settings. “I used to go over Tip’s house and replay samples when I was in college all the time.” His first gigs playing hip-hop were with the Roots, who worked frequently with Dilla at the time. “Literally, the Roots and Dilla pretty much raised me.” \u003c/p>\n\u003cp>From the Philadelphia hip-hop collective, “I learned how to stay in a pocket, and understand how to play (piano) like a sample, by playing with Questlove.” Sometimes, Dilla would be present during these woodshedding sessions. “Me being able to sit across the room with Dilla, him on the MPC, I’m on the keys — I literally learned from the greatest how to do that.”\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/feNYt7B237M'\n title='//www.youtube.com/embed/feNYt7B237M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, he released \u003cem>Mood\u003c/em>, his first album as a bandleader, a fairly traditional jazz trio album of standards and original compositions. The following year, he began his long association with Blue Note Records with the trio album \u003cem>Canvas\u003c/em>. His music began to veer toward fusion with 2007’s \u003cem>In My Element\u003c/em>, which included a cover of Radiohead’s “Everything In Its Right Place.” A 2009 offering, \u003cem>Double Booked\u003c/em>, balanced acoustic trio material with his electric band, The Robert Glasper Experiment, including a track with emcee Yasiin Bey (then known as Mos Def).\u003c/p>\n\u003cp>Then came his 2012 breakthrough \u003cem>Black Radio\u003c/em>, which featured guests Lupe Fiasco, Bilal, Lalah Hathaway, Erykah Badu and Yasiin Bey. Highlights included a Badu-ized version of the jazz standard “Afro Blue” and a decidedly non-grunge take on Nirvana’s “Smells Like Teen Spirit.” The album established Glasper as a commercially successful, forward-thinking artist who could lead jazz music in new directions, engage non-traditional jazz audiences, and do it all in a way that wasn’t cringeworthy. \u003c/p>\n\u003cp>“Here’s the thing, though. Rock is Black music. Hello!,” Glasper proclaims. “A lot of people still to this day don’t understand that (“Teen Spirit”), that’s a song that I’ve always loved. But I also know the roots of that song came from us. That was my reasoning for that and kind of doing it in a more urban way. So then, it speaks to more Black folk that way also.”\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/KdgWiWrtMZo'\n title='//www.youtube.com/embed/KdgWiWrtMZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The tradition of jazz, he says, is rife with artists who expanded the genre by refusing to be pigeonholed, from John Coltrane interpreting “My Favorite Things” and Carmen McRae reimagining The Beatles to Donald Byrd, Herbie Hancock, Roy Ayers and Ramsey Lewis mixing jazz, funk, and R&B. To him, it’s all Black music, which he sees as “a lot of clay” that can be shaped and reformed infinitely. Ultimately, he says, “it all comes from Africa.”\u003c/p>\n\u003ch2>Awards, Tours, and the Festival\u003c/h2>\n\u003cp>Glasper’s stratospheric ascension in recent years has included releasing two more volumes of \u003cem>Black Radio\u003c/em>, along with more straightforward jazz projects, scoring films and documentaries, and collaborating with a host of hip-hop and soul artists – Kendrick Lamar, Mac Miller, Anderson .Paak, Maxwell, Big K.R.I.T., Q-Tip, Talib Kweli, Denzel Curry, Jill Scott, Snoop Dogg, and Common, to name a few.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along the way, he’s collected all kinds of accolades, including an Emmy and five Grammys, and served as the artist-in-residence at the Blue Note Jazz Festival even before its original New York edition expanded to Napa in 2022.\u003c/p>\n\u003cp>Through it all, he says he feels a sense of responsibility for maintaining jazz’s relevance in a post-hip-hop landscape, where technology has become a cultural driver and true musicianship is undervalued. Music isn’t a program in many schools anymore, he notes, and most music is made on a computer or iPhone.\u003c/p>\n\u003cp>“I feel like I’m a torchbearer, and I’ve got to survive and teach as much as I can and not feel like I’m teaching and not sound like I’m teaching,” he says. “There’s a certain way you got to do it. You just got to do stuff that speaks to people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blue Note Jazz Festival runs July 28–30 at Silverado Resort in Napa. \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/i>[aside postid='arts_13930886,arts_13931108,arts_13930867']\u003c/p>\n\u003cp>Since Too Short’s \u003cem>Born to Mack\u003c/em> dropped in 1987, countless Bay Area rap albums have portrayed pimps as folk heroes who get money and status through the sex trade. But there’s a grim reality behind this aspirational image. Although adult sex workers do consensually participate in the industry, the Bay Area is also an international hub for sex trafficking, including of minors, many of whom have survived abuse and neglect from their caregivers, and often go through the foster care system.\u003c/p>\n\u003cp>In a discussion with hip-hop artists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, survivor advocate \u003ca href=\"https://www.instagram.com/bighairbawse/?hl=en\">Xenia St. Charles\u003c/a> explains how struggling young people get lured into exploitation. Later in the conversation, womanist writer and podcast host \u003ca href=\"https://www.instagram.com/bigmoufwoman/\">Tiara Mbonisi\u003c/a> of \u003cem>Big Mouf Woman\u003c/em> offers tools women can use to protect themselves in a misogynistic culture. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://distrokid.com/hyperfollow/stillirise2/whats-pimpin-feat-ryannicole-madlines--coco-peila\">Listen to the track “What’s Pimpin’?”\u003c/a> by Still I Rise (MADlines, Coco Peila and RyanNicole).\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help at the RAINN hotline at 800-656-4673 or via chat at online.rainn.org. The National Human Trafficking Hotline is available at 1-888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Too Short’s \u003cem>Born to Mack\u003c/em> dropped in 1987, countless Bay Area rap albums have portrayed pimps as folk heroes who get money and status through the sex trade. But there’s a grim reality behind this aspirational image. Although adult sex workers do consensually participate in the industry, the Bay Area is also an international hub for sex trafficking, including of minors, many of whom have survived abuse and neglect from their caregivers, and often go through the foster care system.\u003c/p>\n\u003cp>In a discussion with hip-hop artists \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, survivor advocate \u003ca href=\"https://www.instagram.com/bighairbawse/?hl=en\">Xenia St. Charles\u003c/a> explains how struggling young people get lured into exploitation. Later in the conversation, womanist writer and podcast host \u003ca href=\"https://www.instagram.com/bigmoufwoman/\">Tiara Mbonisi\u003c/a> of \u003cem>Big Mouf Woman\u003c/em> offers tools women can use to protect themselves in a misogynistic culture. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://distrokid.com/hyperfollow/stillirise2/whats-pimpin-feat-ryannicole-madlines--coco-peila\">Listen to the track “What’s Pimpin’?”\u003c/a> by Still I Rise (MADlines, Coco Peila and RyanNicole).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Getting 'The Shot' at the History of the Bay Day Party",
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"content": "\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n",
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"excerpt": "As Keak Da Sneak got love from the crowd, his smile reflected the whole day's spirit of Bay Area hip-hop.",
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"title": "Photos: History of the Bay Day Party with Keak, Luniz, RBL and More | KQED",
"description": "Pendarvis Harshaw shares photos and reflections from Dregs One's July 9 party in San Francisco with Keak Da Sneak, RBL Posse, Luniz, Mac Mall and more.",
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"subhead": "The spirit of hip-hop was in the building and on the patio. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Watch: 'What's Pimpin'?' Dives Into Masculinity, Dating with Dregs One, Ian Kelly",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. [aside postid='arts_13930886,arts_13931295,arts_13930867']\u003c/i>\u003c/p>\n\u003cp>Growing up in Oakland and San Francisco respectively, hip-hop artists \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a> witnessed their peers enter the sex trade to make a living — a reality reflected in, and sometimes glamorized by, music and pop culture.\u003c/p>\n\u003cp>In a candid discussion with hosts \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, Dregs and Kelly share how growing up around pimping impacted their views of masculinity and relationships, and shaped the messages they now share in their music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">Catch up on episode one here\u003c/a> and stay tuned for the final episode of this three-part series dropping on July 12. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help at the RAINN hotline at 800-656-4673 or via chat at online.rainn.org. The National Human Trafficking Hotline is available at 1-888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/i>\u003c/p>\n\u003cp>Growing up in Oakland and San Francisco respectively, hip-hop artists \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a> witnessed their peers enter the sex trade to make a living — a reality reflected in, and sometimes glamorized by, music and pop culture.\u003c/p>\n\u003cp>In a candid discussion with hosts \u003ca href=\"https://www.instagram.com/mad.lines/\">Maddy Clifford\u003c/a>, \u003ca href=\"https://www.msryannicole.com/\">RyanNicole\u003c/a> and \u003ca href=\"https://www.cocopeila.com/\">Coco Peila\u003c/a>, Dregs and Kelly share how growing up around pimping impacted their views of masculinity and relationships, and shaped the messages they now share in their music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930886/madlines-coco-peila-ryannicole-whats-pimpin-vodcast-1\">Catch up on episode one here\u003c/a> and stay tuned for the final episode of this three-part series dropping on July 12. \u003cem>— Nastia Voynovskaya, lead producer\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or anyone you know is experiencing sexual violence, you can get free, confidential help at the RAINN hotline at 800-656-4673 or via chat at online.rainn.org. The National Human Trafficking Hotline is available at 1-888-373-7888 or via text message at 233733.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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