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“Jeopardy!” contestant Mazin Omer caused people across the country to scream at their television sets on Monday after he gave an epically wrong answer to a question about British knights.

When Omer chose a clue in the “Knight After Knight” category for $400, a photo of British actor Michael Caine, 89, appeared. Host Mayim Bialik read the clue: “To honor his father, this star here was knighted in his birth name, so he’s Sir Maurice Micklewhite.

To which Omer responded, “Who is Mick Jagger?”

*I’ll bet she knows who both Michael Caine and Mick Jagger are 😂🤣 #Jeopardy pic.twitter.com/q6MX4nIk9O

— ✨Nostradumbass✨ (@UmbassNostrad) June 14, 2022

Jagger and Caine don’t bear much of a resemblance, so it appears as though he was thrown by the last name Micklewhite and thought that was a reason why The Rolling Stones singer may have changed his name to Mick Jagger.

However, Mick Jagger is the “Satisfaction” singer’s real name. He was born Michael Philip Jagger and he’s known as Mick, a shortened version of his first name.

Omer’s bungling of the question also inspired a whole lot of chatter on social media. A lot of folks couldn’t believe that someone could mistake the two-time Academy Award-winner and star of classics such as “Hannah and Her Sisters,” “Alfie,” and “The Dark Knight” for the most popular rock frontman of all time.

They just showed a picture of Michael Caine on @Jeopardy and the dude answers “Who is Mick Jagger?”

I’m sure he knows a million things that I don’t, but man I wasn’t ready for that 😂#Jeopardy pic.twitter.com/wI67AejABZ

— Mark LeBel (@MarkEMarkFM) June 13, 2022

So one of the side effects of COVID is that it transforms Mick Jagger into Michael Caine? #jeopardy 🤦‍♂️ pic.twitter.com/GmLzz05ql2

— chad mitchell (@cmmitchell4) June 13, 2022

Who is Mick Jagger… bruh #jeopardy

— “Knuckles” from Sonic (@Newsguy17575300) June 13, 2022

“Who is Mick Jagger?” Sorry mate, try again. #Jeopardy (He really did say it.) pic.twitter.com/Un78iAP4KJ

— Charles Winokoor (@cwinokoor) June 14, 2022

#jeopardy is on 30 minutes earlier where I live than where my mom lives.

Just texted her: Someone is going to say Mick Jagger and you will yell at the TV.

— Katie Labovitz (She/Her) (@klabovitz) June 13, 2022

Dude on Jeopardy just called a pic of Michael Caine Mick Jagger, I’m dead.

— Karyn Brown M.F.I.C. (@KarynKaryn2543) June 13, 2022

Unfortunately for Omer, he didn’t win on Monday night. As reported by Last Night On, reigning champion Eric Ahasic brought home $26,800 while Omer narrowly beat Lisa Hernson for second place, $401 to $400.

Both Ahasic and Omer missed the “Final Jeopardy!” question, a clue in the category “TV Legends”: “Buster Keaton considered her the tops in her field &, in fact, was one of her early mentors.”

The answer was “Who is Lucille Ball?”

Things didn’t go well for Mick Jagger either on Monday night. The Rolling Stones had to cancel a concert in Amsterdam at the Johan Cruijff ArenA last-minute because Jagger contracted COVID-19.

“The Rolling Stones have been forced to call off tonight’s concert in Amsterdam at the Johan Cruijff ArenA, following Mick Jagger testing positive after experiencing symptoms of COVID upon arrival at the stadium,” the band said in a statement on its official Instagram page. “The Rolling Stones are deeply sorry for tonight’s postponement, but the safety of the audience, fellow musicians and the touring crew has to take priority.”

Jagger said in an interview with Rolling Stone that he’s fully vaccinated against the virus.

Get well soon, Mick!

See on Instagram

As for Caine, last year he admitted that his storied career may be winding down. In an interview promoting the film “Best Sellers” starring Aubrey Plaza he told Vanity Fair that “I haven’t worked for two years, and I have a spine problem which affects my legs so I can’t walk very well.

“There haven’t been any offers honestly for two years, because nobody’s been making any movies I’d wanna do,” he added.

However, according to IMDb, he has two films that are slated for release in the coming months, “Now You See Me 3” and “The Great Escaper.”

Lizzo—an artist who has made inclusion a part of her platform—received criticism from fans for a word included in her newly released single “Grrrls,” which was seen by some as derogatory toward disabled people.

The song’s opening line includes the word “spazz,” which in broad slang terms can mean “random, wild outburst,” according to Urban Dictionary. As many disability advocates pointed out, however, “spastic” is also used to describe someone with an actual medical condition where they lose control of their muscles (cerebral palsy, in particular). The term has often been used as an insult, implying that someone is “awkward or clumsy.” Hence why many view it as an “ableist slur.”

Fans who were disappointed by its inclusion in her song posted about it online, which eventually caught the attention of Lizzo herself.

“Hey @lizzo, my disability Cerebral Palsy is literally classified as Spastic Diplegia (where spasticity refers to unending painful tightness in my legs) your new song makes me pretty angry + sad. ‘S–z’ doesn’t mean freaked out or crazy. It’s an ableist slur. It’s 2022. Do better,” one person explained.

Another added: “Oh @lizzo. A VERY influential figure, using the word sp@z in her new song. An offensive and derogatory term. As someone who’s written about the use of disability language, especially slang/slur words which have been used in schools, this is a huge step back. Please, remove it.”

So … what do you do when you say something hurtful, despite that being the furthest thing from what you intended? How do you make it right without compromising your own integrity? You do exactly what Lizzo did.

Without missing a beat, Lizzo made a statement on Instagram that acknowledged the pain caused by using the word, focusing on impact rather than intent. It’s a crucial shift that makes an apology authentic.

See on Instagram

“It’s been brought to my attention that there is a harmful word in my new song ‘GRRRLS’. Let me make one thing clear: I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand the power words can have (whether intentionally or in my case, unintentionally),” the singer wrote.

That simple change made a world of difference. Lizzo soon received an outpouring of love, even from those who initially reached out in retaliation. Amazing things happen when people feel heard.

I’m going to cry 😭 Thank you so much for hearing us Lizzo and for understanding that this was only ever meant gently and being open to learning, it honestly means the world ❤️. You’re a real true ally https://t.co/RbQCbAwpR6

— Hannah Diviney (@hannah_diviney) June 13, 2022

Some even noted their own discoveries, sharing how they too learned about the word’s other meaning and plan to change moving forward.

Even the most conscientious person doesn’t know everything. No one is going to know how every word is translated across cultures and backgrounds. We are all human. But compassion doesn’t have to get lost in translation. There doesn’t have to be drama in allyship. Sometimes it might be as simple as a more mindful approach to our ever-evolving language.

Despite what another Lizzo song suggests, maybe truth doesn’t have to hurt.

At the time, Election Night 2020 was already considered a fiasco. Donald Trump seemed to be leading in several states, but only because absentee ballots weren’t allowed to be counted to later on. As the country leaned decisively Joe Biden’s way, Trump went live on television to prematurely declare victory — a move he later tried to pass on to Dr. Mehmet Oz. We’ve learned a lot more about what went down behind the scenes, especially now thanks to the Jan. 6 hearings. Now there are pictures of the Trump team that fateful night, and they aren’t pretty.

In his recent book Betrayal: The Final Act of the Trump Show, ABC News correspondent Jonathan Karl added to the pile of books about the former president’s chaotic single term in office. It included some pictures inside the White House on the big night, which were made public to those who didn’t buy the book after the Jan. 6 hearings delved deep into what went down. To put it lightly, they do not show a group of people who thought their side was winning.

In one, presumably taken early in the evening, Trump’s entourage — including Don Jr., Eric Trump and his wife Lara, Ivanka and Jared Kushner, as well as Stephen Miller — everyone’s all smiles and giving the thumbs up. It’s the only happy one. The others show grim and/or exasperated faces, tense stare at phone screens, Jared staring at campaign manager Bill Stepien in disbelief as Eric shoots a thousand-yard stare.

The photos were allegedly taken as more ballots were counted and Trump’s re-election fortunes waned.

The images align with the many revelations in Monday’s Jan. 6 hearing. Among them was Stepien testifying that he and many others advised Trump against prematurely declaring victory, which he did at the suggestion of a reportedly tanked Rudy Giuliani. (The former “America’s Mayor” may have overcorrected by claiming all he drank was Diet Pepsi.) Perhaps, as Bill Barr suggested, Trump believed the voter fraud nonsense. But these photos strongly suggest he was one of the only ones.

You can see more pictures of that grim night over at ABC News.

Nearly 15 years ago, T-Pain delivered one of the most classic examples of a bent rhyme on his 2008 record “Can’t Believe It” with Lil Wayne. Strapped with his southern accent, T-Pain sang, “Put you in the mansion / Somewhere in Wisconsin [pronounced Wiscansin] / Like I said ain’t nothing to the Pain / We can change that last name, what’s happening.” The Wiscansin line became one of the most memorable verses in T-Pain’s career, and nearly 15 years later, the singer is still reaping the benefits of the iconic rhyme.

T-Pain, who is currently on his Road To Wiscansin Tour, was recognized by the state of Wisconsin during a recent tour stop. Rather than the expected solo concert, T-Pain turned the night into the Wiscansin Fest where welcomed artists like Lil Jon, Juvenile, Bleu, K Camp, O.T. Genasis, and others to the stage. It’s here that state representative Kalan Haywood surprised T-Pain with a declaration from the state office that recognized June 11 as “T-Pain Day.” In videos that circulated on social media, T-Pain fought back tears as he accepted the plaque from Haywood. He even got down to his knees and thanked fans for their love and support.

You can view T-Pain being graced with his own day in Wisconsin Wiscansin in the photo and video above.

Michelle are back with their first new material since March’s LP After Dinner We Talk Dreams. This comes in the form of two new tracks titled “Sea Shanty” and “Fool 4 U,” as well as new tour dates, starting in Los Angeles at the end of August and ending in Albany in September.

“‘Sea Shanty’ is a tense, pensive addition to ADWTD,” the band, who’ve shared the stage with Mitski, explained. “Maybe a daydream, or a nightmare, the song soundtracks the calm before the storm – the moment before a journey, the moment after a sobering realization.” They added that “Fool 4 U” “offers something bittersweet. Sitting in the kind of love that holds you – in the kind of love that suffocates you. A song for the tenderness you hate to love, and once loved to have.”

Listen to the “Sea Shanty” above and “Fool 4 U” below and check out the tour dates underneath.

08/28 – Los Angeles, CA @ This Ain’t No Picnic
08/31 – San Diego, CA @ House of Blues Voodoo Room
09/01 – Phoenix, AZ @ The Rebel Lounge
09/02 – Tucson, AZ @ HOCO Fest
09/05 – Austin, TX @ Empire Control Room
09/06 – Dallas, TX @ Club Dada
09/08 – St. Louis, MO @ Off Broadway
09/09 – Madison, WI @ High Noon Saloon
09/10 – Chicago, IL @ Beat Kitchen
09/11 – Detroit, MI @ The Loving Touch
09/13 – Toronto, ON @ Velvet Underground
09/14 – Albany, NY @ Lark Hall

Matt Damon has starred in a lot of popular (and, for the record, unpopular) movies in his time. But perhaps his most impactful screen work was a commercial. This year’s Super Bowl featured a bizarre ad for Crypto.com, the Singapore crypto exchange, in which the Oscar-winning screenwriter (but not yet Oscar-winning thespian) dared people to be ambitious…by investing in dodgy alternative currency. He was dragged then, and he’s been dragged every time the crypto market has suffered some calamity.

Lo and behold, that happened. As per Newsweek, on Monday the price of Bitcoin dropped to $23,000 — its lowest price in years. That caused a ripple effect across the crypt-world, with other currencies — Ethereum, tether, BNB, Dogecoin, Cardano — seeing declines as well.

To make matters worse, Crypto.com — again, the company for whom Damon cut the ad — announced they were laying off 260 employees, or 5% of its workforce, as per Insider. It’s a big step-down after late 2021, when the crypto market hit an all-time high. It was then that a confident Crypto.com threw around money: $100 million on the Damon ad campaign and a whopping $700 million to have the Staples Center in Los Angeles renamed after them for the next 20 years.

A lot of celebrities have thrown their weight behind cryptocurrency: Kim Kardashian, Jake Paul, Paris Hilton, Snoop Dogg, even Larry David. But it appears most people associate it with the star of The Legend of Bagger Vance, as evidenced by all the people slamming Damon after all the recent grim crypto news.

Some pointed out how little you’d have if you invested in crypto due to Damon’s commercial.

Others argued that it’s not a celebrity’s fault if you listened to them about financial matters.

And yet, celebrities should know better, too.

Anyway, Damon may think that fortune favors the bold, but right now the bold do not have a fortune. You’re better off listening to The O.C. alum and current Gotham star Ben McKenzie.

(Via Newsweek and Insider)

The 2022 Tony Awards was billed as one of the most diverse Tony Awards in history. And that’s not totally untrue. The show saw its first nonbinary winner, “Six: The Musical” writer Toby Marlow. Additionally, there were seven plays written by Black playwrights during this Broadway season, a fact that host Ariana DeBose pointed out in her opening number/monologue. She quipped that it was nice to see that “‘The Great White Way’ is becoming more of a nickname as opposed to a how-to guide.”

And this year was absolutely a benchmark year when it comes to Black representation at the Tonys. As someone who is an avid theater fan (the Tonys are to me what the Oscars are to film people), I love watching the beauty and spectacle of the show. But as a Black woman, I am always aware of the conversations around diversity. They’re incredibly important conversations to be having, and while the Tonys used much of DeBose’s opening monologue to proclaim how diverse Broadway currently is, most of the winners didn’t reflect the sudden push for diversity, more specifically, Black creators and performers.

In the categories of Best Play, Best Director of a Play and Best Featured Actress in a Musical, there were multiple Black nominees, including Black women, but all of the winners were white. Not only white, but white people who have already won before and are critically acclaimed. For most of the show, it would be Black nominee multiple times over a category, only to have a white winner. Watching the show unfold became increasingly more frustrating.

After the national protests and conversations about race in 2020, a group of theater performers and other creatives, including Viola Davis, Lin-Manuel Miranda and Sandra Oh, wrote an open letter, “Dear White American Theater.”

“We see you. We have always seen you. We have watched you pretend not to see us,” the letter reads.

“We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged, and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play. We see you.”

““A Strange Loop”(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a “Big, Black & Queer-Ass American Musical.” Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSSt”

u201cu201cA Strange Loopu201d(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a u201cBig, Black & Queer-Ass American Musical.u201d Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSStu201d

— Jonathan Capehart (@Jonathan Capehart)
1655236835

One of the biggest issues with diversity on Broadway, at the Tonys or otherwise, is that the people in positions of power are still largely white. Take, for example, the new Broadway musical “A Strange Loop.” It has garnered a lot of buzz since it opened, and it picked up Tonys for Best Book of a Musical and Best Musical. When the show won Best Musical, the award was accepted by its white female producer (Barbara Whitman) along with its Black writer (Michael R. Jackson), despite its performance being presented by Black producers RuPaul Charles and Jennifer Hudson earlier in the broadcast. (Fun fact: Being a producer of the musical scored Hudson an EGOT, making her the second Black woman, and youngest winner overall.)

Clearly, Black producers exist, but they are not the lead producers, and as we know, the lead producers are the ones who become the face of the show in certain aspects. I’m not saying that white producers shouldn’t exist, but to create a more diverse playing field, they should be partnering with BIPOC producers, especially when the show is about a marginalized group. It may not seem like a big deal, but optics really do make it a big deal. It would have been way more impactful to the conversation to see all those Black faces on stage and have a Black person making the speech.

In an interview with The Hollywood Reporter ahead of the Tony’s, steering committee members of the Asian American Performers Action Coalition Christine Toy Johnson and Pun Bandhu talked about diversity on Broadway—the strides that have been made and areas that still fall short. The Asian American Performers Action Coalition is a group of AAPI theater folks who for the last 10 years have worked to increase opportunities for mainly Asian and Asian American creatives, but also to helping BIPOC communities as well.

Bandhu pointed out that over the years, there’s this swinging pendulum when it comes to representation. He refers to it as a “scarcity model,” where only one marginalized group can be having success at any given time. For example, after Lin-Manuel Miranda’s first Broadway hit “In the Heights” opened and won Tonys in 2009, there was a boost in interest surrounding Latino representation. After a show like “The Color Purple,” a boost in telling Black stories. He also added that the amount of diversity on Broadway never “went above 20 percent for marginalized and underrepresented groups from year to year over the course of 10 years.”

“”A Strange Loop is a story that centers the queer Black experience in the Broadway space which very well hits a chord when it comes to the creative process and navigating the world while being queer — specifically Black and queer.” @DinoRay
https://t.co/IYqVu0bzwm”

u201c”A Strange Loop is a story that centers the queer Black experience in the Broadway space which very well hits a chord when it comes to the creative process and navigating the world while being queer — specifically Black and queer.” @DinoRay nhttps://t.co/IYqVu0bzwmu201d

— GLAAD (@GLAAD)
1655213902

“Thinking that there’s only so much ground that can be given to marginalized groups … leads to this oppression Olympics, a system by which the power structure benefits from having all the marginalized groups competing against each other. What our statistics help to prove is that it’s a larger problem that has to do with centering white narratives and artists at the expense of all else,” Bandhu explained.

While this year was a record year for Black representation on Broadway, that meant that other marginalized racial groups got little to no recognition at all. There were only two Asian nominees this year, for lighting design. And while wins for either of them would have been historic, where is the visible Asian representation?

“I think that there’s been this ongoing myth about [AAPI talent] not existing, which is why we’re not represented,” Johnson told The Hollywood Reporter.

In a 2016 Forbes article, writer Lee Seymour stated that only 12 people of Asian descent have won a Tony—three producers have won more than once. David Henry Hwang was the first—and only—Asian American to win best play, back in 1988.

This is the perfect example of the “scarcity model,” and it feels ridiculous that it’s still a thing in 2022. But again, that leads to my earlier point of having marginalized producers. They will be more diligent about seeking out marginalized creators, actors and others. You have to have equity at the top to have equity at the bottom.

As halftime arrived for Game 5 of the 2022 NBA Finals, the Golden State Warriors led the Boston Celtics by 12 and there was plenty to talk about, from the Warriors’ defensive brilliance, to the Celtics’ offensive ineptitude, to the adjustments needed from both sides to try and open things up offensively coming out of halftime.

On most sporting events on most networks, the halftime show would provide ample room for the analysts to make points, dive into highlights, and banter about what each team should be trying to do in the second half. However, ESPN’s halftime show for NBA games decidedly does not do that.

Instead, they spend the 15-minute break trying to see how many commercials they can squeeze in. Here is the honest to god breakdown of the halftime “show” viewers were treated to on ABC during Game 5:

• COMMERCIAL BREAK
• A 30-second sponsored segment from DraftKings where Mike Greenberg asked Jalen Rose who would be the top third quarter performer
• COMMERCIAL BREAK
• Two minutes of discussion of the first half in which Rose, Stephen A. Smith, and Michael Wilbon each got about 30 seconds each to fire off their takes
• COMMERCIAL BREAK
• A 15-second bumper of Stephen A. talking over a slow-mo Jayson Tatum video followed by a Meta Quest ad read from Greeny.
• COMMERCIAL BREAK

At this point, the broadcast returned to courtside for a Wired segment and brief discussion from the broadcast booth about the half before the game resumed. As is oftentimes the case when I am when watching NBA games on ESPN, I was left wondering why they even bother having a halftime show.

For years, ESPN has shuffled the deck on its NBA studio show, trying in vain to make up ground on Turner’s beloved Inside the NBA crew. After the Rachel Nichols fiasco and Paul Pierce’s exit by way of a wild IG live, the network once again made sweeping changes by adding Stephen A. and Wilbon to the desk alongside Rose. Greenberg, a veteran broadcaster who knows how to set up his colleagues as well as anyone in the business, was essentially brought in to play point guard.

However, no combination of names stands a chance of finding success in the current format, in which ESPN and ABC try to extract as much ad revenue as humanly possible out of halftime and then kick it over to SportsCenter after the game in lieu of an actual postgame show.

The magic of Inside the NBA is not just the people — although, that’s the biggest piece of the puzzle — it’s that that they have room to breathe. You are given the opportunity to enjoy them as analysts, personalities, and everything else that comes from being, at the end of the day, a TV show. Kenny Smith’s halftime video breakdown at the big board in Studio J is given more time than anything on the entire ESPN halftime show, and that’s just the second segment of the program. It usually follows Shaq’s own video breakdown, and once Smith’s done, the floor is given to Chuck to rant about whatever he’d like.

Those back-and-forths that lead to the hysterical moments between Chuck and Shaq would be impossible if each were given just 30-45 seconds to talk. The same goes for the insight Kenny can give at the board, not to mention how they can really stretch out and get weird on the postgame show that goes for a full half-hour (or more, sometimes) after the final game ends and lets them dive deep on the topics that interest them. Yes, ESPN has a pregame show, but that is only part of the equation, and with how the network has decided to go in a very personality-driven direction with its NBA coverage, it feels like a gigantic waste of the talents of Rose, Smith, and Wilbon to take away their ability to react to things we just saw happen.

For ESPN to have the league’s biggest property in the Finals and to provide so little during their halftime show is rather pathetic. It’s not the fault of those on set, it is the fault of decision makers at the top who set them up to fail by selling four commercial breaks worth of ad space, plus two sponsored segments that take away any time to even attempt to provide real insight into the game we’re all watching. Until that changes, they stand no chance, and whoever they shuffle into those seats during their next shakeup will see the same results.

Hollywood is no stranger to having two competing productions about basically the same thing. There’ve been dueling asteroid movies (Deep Impact vs. Armageddon), dueling animated ant movies (Antz vs. A Bug’s Life), dueling CGI Jungle Book movies (Disney’s The Jungle Book vs. Netflix’s Mowgli: Legend of the Jungle). Now there’s dueling Pinocchio movies. In September, Disney will release Pinocchio, their latest live-action-plus-CGI redo of their animated classic, with Tom Hanks as lovable, white-haired Gepetto. In December, Netflix has their own take on Carlo Collodi’s classic tale, directed by Guillermo del Toro. But del Toro’s version will stand out in at least two ways: It’s all animated, and it sounds really, really, really dark.

The Oscar-winning filmmaker talked to Vanity Fair about what’s in store with his version of the tale of a wooden boy with an ever-growing nose. It was revealed long ago that it would be one of those renegade versions of a classic story, like Maleficent or Pan. But clearly we had no idea how far del Toro would go.

Indeed, this version is set not in a quaint fairy tale past but in Italy between World Wars I and II. Gepetto has a dead son; Pinocchio was carved from a tree that grew over his grave. Jiminy Cricket, now named Sebastian, literally lives inside Pinocchio. And del Toro found something even more disturbing than his trip to Pleasure Island, which may be the most traumatic stretch of any classic Disney animated feature.

“He is recruited into the village military camp, because the fascist official in town thinks if this puppet cannot die, it would make the perfect soldier,” del Toro told VF. Oh, and that official with an “ominous armband” who recruits him? He’s voiced by del Toro regular Ron Perlman.

This all sounds pretty nightmarish, but del Toro has one more optimistic spin on the source. Usually Pinocchio, especially its Paradise Island section, is treated as a warning to kids about the dangers of rebelling against one’s parents. (That’s especially how it is in the 1941 Disney take.) But del Toro wants to avoid that.

“It’s counter to the book, because the book is seeking the domestication of the child’s spirit in a strange way,” he explained. “It’s a book full of great invention, but it’s also in favor of obeying your parents and being ‘a good boy’ and all that. This [movie] is about finding yourself, and finding your way in the world—not just obeying the commandments that are given to you, but figuring out when they are okay or not.”

Del Toro’s Pinocchio — which again is not to be confused with the Pinocchio arriving in September, nor with the recent Italian version featuring Roberto Benigni as Gepetto (which itself is not to be confused with his near-career-killing version from 20 years ago) — is due on Netflix in December. You can watch the teaser in the video above.

(Via Vanity Fair)

The brand new Blue Note Jazz Festival in Napa Valley was already sporting one of the more unreal music festival lineups of the summer. With Robert Glasper as the artist-in-residence and Dave Chappelle hosting the festivities, the slate of performers features Erykah Badu; Yasiin Bey and Talib Kweli performing as Black Star; Thundercat and Maurice Brown, joined by Anderson .Paak; Flying Lotus and The Soul Rebels, joined by GZA and Kweli; and Maxwell. Not bad right?

But this was merely the two-day slate, as the Blue Note Jazz Fest has now added a third day and a ton of new big-time acts. The most significant addition is easily Snoop Dogg, who’ll be performing a set alongside Dinner Party, the Uproxx-favorite project consisting of Glasper, 9th Wonder, Terrace Martin, and Kamasi Washington. Also added to the lineup are R&B and soul legend Chaka Khan, hip-hop production mastermind Madlib, Chris Dave & The Drumheadz, pianist Kiefer with Moonchild’s Amber Navran, and more.

Suffice it to say, a great thing just got even better. The festival will be going down from July 29 to July 31 at the Charles Krug Winery in St. Helena, CA. This is in the heart of Napa Valley’s wine country and all in all is a stellar addition to the summer festival circuit.

Check out the daily lineups below and get your single-day tickets here.