Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died
See Awadagin Pratt’s Incredible ‘Rounds’ While You Can
Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert
DannyLux Harnessed the Grief and Joy of Young Latinos at SF’s Regency Ballroom
‘Therapy In The Ghetto: Reimagined’ to Raise Mental Health Awareness in SF’s Bayview
‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music
D Sharp: The DJ with Four NBA Championship Rings
R.O. Kwon’s New Novel ‘Exhibit’ Sizzles With Taboo Desire
Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it
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Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","blocks":[],"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","status":"publish","parent":0,"modified":1714775102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. 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Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\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/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13957201":{"type":"posts","id":"arts_13957201","meta":{"index":"posts_1591205157","site":"arts","id":"13957201","score":null,"sort":[1714763926000]},"guestAuthors":[],"slug":"awadagin-pratt-rounds-new-century-chamber-orchestra","title":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can","publishDate":1714763926,"format":"standard","headTitle":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In attending live music, one must always be open to the element of surprise.\u003c/p>\n\u003cp>Case in point: I’d gone to the New Century Chamber Orchestra’s performance in Berkeley Thursday night to see a short piece by the composer Florence Price, whose \u003ca href=\"https://www.nytimes.com/2023/04/07/arts/music/florence-price-music.html\">discovered trove of manuscripts in 2009\u003c/a> has led to a recent renaissance. Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","status":"publish","parent":0,"modified":1714778927,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":519},"headData":{"title":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can | KQED","description":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can","datePublished":"2024-05-03T19:18:46.000Z","dateModified":"2024-05-03T23:28:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957201","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In attending live music, one must always be open to the element of surprise.\u003c/p>\n\u003cp>Case in point: I’d gone to the New Century Chamber Orchestra’s performance in Berkeley Thursday night to see a short piece by the composer Florence Price, whose \u003ca href=\"https://www.nytimes.com/2023/04/07/arts/music/florence-price-music.html\">discovered trove of manuscripts in 2009\u003c/a> has led to a recent renaissance. Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_1312","arts_10278","arts_2520","arts_22132","arts_1146","arts_585"],"featImg":"arts_13957209","label":"arts_140"},"arts_13957193":{"type":"posts","id":"arts_13957193","meta":{"index":"posts_1591205157","site":"arts","id":"13957193","score":null,"sort":[1714759368000]},"guestAuthors":[],"slug":"510-day-oakland-anti-gentrification-rally-concert","title":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","publishDate":1714759368,"format":"standard","headTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. [aside postid='arts_13918908']\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","status":"publish","parent":0,"modified":1714774798,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":351},"headData":{"title":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ | KQED","description":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","ogTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","ogDescription":"","ogImgId":"","twTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","twDescription":"","twImgId":"","socialTitle":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","datePublished":"2024-05-03T18:02:48.000Z","dateModified":"2024-05-03T22:19:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957193","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_7624","arts_10278","arts_1332","arts_1143","arts_585"],"featImg":"arts_13876766","label":"arts_140"},"arts_13957038":{"type":"posts","id":"arts_13957038","meta":{"index":"posts_1591205157","site":"arts","id":"13957038","score":null,"sort":[1714690740000]},"guestAuthors":[],"slug":"dannylux-regional-mexican-regency-ballroom-concert-review","title":"DannyLux Harnessed the Grief and Joy of Young Latinos at SF’s Regency Ballroom","publishDate":1714690740,"format":"standard","headTitle":"DannyLux Harnessed the Grief and Joy of Young Latinos at SF’s Regency Ballroom | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It may have been \u003ca href=\"https://www.instagram.com/dannyluxfr/?hl=en\">DannyLux\u003c/a>’s first time performing in San Francisco. But when the rising regional Mexican music star stepped onto the stage at the Regency Ballroom on May 1, you would have thought he was born and raised in the Bay Area.\u003c/p>\n\u003cp>Wearing a Green Day shirt, jumping high in the air and beaming, Danny, or Daniel Balderrama Espinoza, kicked off the show with “\u003ca href=\"https://youtu.be/u4KY82PDyM4?si=gk-K26PgqxF97ZxF\">Ciudad del Sol\u003c/a>” from his latest album, \u003cem>EVOLUXIÓN\u003c/em>. The crowd of mostly young Latinos chanted his name nonstop throughout the show; many had come from as far as Santa Rosa and Gilroy.\u003c/p>\n\u003cp>At 20 years old, the Palm Springs-raised, Mexican American singer has a long list of achievements: several Gold-certified singles (the first arrived when he was only 16), a 2023 Coachella performance and a Mexican tour with Coldplay.\u003c/p>\n\u003cp>His appeal transcends language barriers: \u003ca href=\"https://www.youtube.com/watch?v=AynDvSkZ8og&t=773s\">His NPR Tiny Desk performance last year\u003c/a> confirmed that fans don’t need to speak Spanish to feel the emotion in his songs, most of them ballads with heartbreaking lyrics accompanied by acoustic guitars and downtempo bass. A little bit bolero, a little bit sierreño, a little bit corrido, but, as the young singer says, always with “el estilo del Danny” — “in Danny’s style.”\u003c/p>\n\u003cfigure id=\"attachment_13957047\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with other young talents like Eslabón Armado (NorCal locals from Patterson), Riverside’s Iván Cornejo and Los Del Limit from Midfield, Texas, Danny’s success shows that Mexican Americans are playing a critical role in \u003ca href=\"https://www.billboard.com/music/latin/sad-sirreno-mexican-sad-boys-9523696/\">the future of regional Mexican music\u003c/a>. “Me siento 100% mexicano,” he told KQED in an interview before the show. (More from that conversation below).\u003c/p>\n\u003cp>Danny’s cultural pride begins with his love for his family. After all, he creates so much of his music with them. Next to Danny on stage was his cousin, Eduardo, on bass, and Danny’s longtime friends, Daniel and César, on guitar. Danny’s parents and sister were at the show, rooting for him from backstage. In the middle of “\u003ca href=\"https://youtu.be/oslJpKmdX20?si=Xn0CAmtRUOnReMB5\">Corazón Frío\u003c/a>,” he brought out his mom for a dance and a hug. Thanking his family, Danny looked out at the crowd and added, “Hasta ustedes se sienten como mi familia.” (“Even all of you feel like my family.”)\u003c/p>\n\u003cp>Along with his smooth, melodious voice — which skillfully moved through “\u003ca href=\"https://youtu.be/QdeoocyUk68?si=3Rg_0Yv0eXuqb8k4\">El Dueño De Tu Amor\u003c/a>,” “\u003ca href=\"https://youtu.be/ibZ8Q1QdzCQ?si=BmFuxCFz3wTcEqoT\">Si Supieras\u003c/a>” (a collab with Eslabón Armado) and bachata-infused “\u003ca href=\"https://youtu.be/8HKcNkZ6okc?si=WygjdNymfmc52bcD\">El Hombre Perfecto\u003c/a>” — what makes Danny stand out as a performer is his capacity to be so transparent with his emotions. El regional mexicano has traditionally been a genre where men can openly be vulnerable, and Danny honors that legacy while pushing it forward for a new generation.\u003c/p>\n\u003cfigure id=\"attachment_13957159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux, left, and Dariell Cano, right, perform at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his first hits was “\u003ca href=\"https://youtu.be/CULF9lXH87w?si=vim-Je55uoNoQ1eT\">Jugaste y Sufrí\u003c/a>” (another collab with Eslabón Armado) from 2020, a time when many of Danny’s young fans were isolated during COVID-19 lockdowns. The track rapidly spread on TikTok, and became an outlet for young people processing intense grief.\u003c/p>\n\u003cp>On stage, Danny acknowledged the track’s impact. “Estoy aquí gracias a esta canción,” he said (“I’m here thanks to this song”), and asked the crowd to light up their phones. It felt like a full-circle moment, being able to celebrate with the artist a song many of us first heard during so much loneliness and uncertainty.\u003c/p>\n\u003cp>A couple songs later, the crowd was back to jumping and dancing to “House of Lux,” which seamlessly fuses el regional mexicano with house. “All of my songs, they’re built upon the base of regional mexicano, but I don’t want to stay in a box,” he told KQED, and added that his mind is brimming with new musical ideas.\u003c/p>\n\u003cfigure id=\"attachment_13957049\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957049\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Arias, 12, signs along with DannyLux as he performs during his “Tour of Lux” at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That vision certainly resonates in the Bay Area, where it’s common to go out and hear house, hip-hop, cumbia and Brazilian funk in the same DJ set. And of course, for diehard fans of regional and sierreño, Danny and his grupo brought it home, with Eduardo, Daniel and César rascando la guitarra — breaking into deep, melodic guitar riffs — while Danny interjected with a grito, a holler imbued with emotion that moves from the bottom to the top of your chest.\u003c/p>\n\u003cp>“¡Un grito a todos los dolidos!” — “A grito for all of those feeling grief!”\u003c/p>\n\u003cp>The crowd responded with their own gritos. Danny may not have grown up riding BART or spent Sundays chilling at Dolores Park, but on Wednesday he gave voice to so many young Latinos of the Bay who are coming into their own and seeking the words to define what they feel.\u003c/p>\n\u003cp>To adapt \u003ca href=\"https://www.nytimes.com/2018/06/28/world/americas/world-cup-mexico-south-korea.html\">a chant of solidarity made popular in Mexico City during the 2018 Men’s World Cup\u003c/a>, “Danny, Danny, hermano, ya eres sanfranciscano.”\u003c/p>\n\u003cfigure id=\"attachment_13957053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957053\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danny spoke to KQED before his San Francisco show to share more about where he wants to take his music next, why it matters to share what we feel and what it means to balance two cultures — Mexican and Californian.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. Part of the interview was translated from Spanish.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Let’s start off with your new album. You’re trying out a lot of new things, bringing things in like tropical and house, along with música regional, and you’re having a lot of fun too. Why is it so important for you to experiment?\u003c/p>\n\u003cp>\u003cstrong>DannyLux: \u003c/strong>I feel like experimenting really helps me find myself as an artist. You can’t really say you’re a certain type of genre artist if deep down you like to make more than that. All of my songs, they’re built upon the base of regional mexicano, but I don’t want to stay in a box. I want people from all over the world to be able to hear me.\u003c/p>\n\u003cp>Right now the regional mexicano genre is going up so much. It’s one of the most popular genres there is. But I don’t want to be like anyone else. A lot of people ask me, “Do you want to be the next Peso Pluma? Do you want to be the next Nata [Natanael Cano]?” But I just want to be the next DannyLux. I just want to be me.\u003c/p>\n\u003cfigure id=\"attachment_13957048\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux fans watch him perform at The Regency Ballroom in San Francisco as apart of his “Tour of Lux” on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And I can imagine that the music you’re listening to is not just música regional. You’re listening to bachata, cumbia, reggaetón.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I’m listening to a lot of things. I feel just having that knowledge of a lot of different styles of music really helps you as an artist. Honestly, I feel maybe in the future, the songs that I make five years from now are going to sound nothing like the style I make today. I don’t ever want to settle. [aside postid='arts_13956734']\u003c/p>\n\u003cp>\u003cstrong>You’ve been creating music for a few years now. Who would you say is your audience? Who do you sing for?\u003c/strong>\u003c/p>\n\u003cp>I like to make songs with the intention of singing them to the whole world. To everyone who is in a relationship, who has had their heart broken. I like to write a lot about heartbreak and love. When I’m writing, I want people to identify with the lyrics, so my music doesn’t have a specific audience because any person could hear it.\u003c/p>\n\u003cp>I’m inspired a lot by boleros from the past, and with that older adults can enjoy my music. And the themes I talk about are for younger people because I’m a young person and I like to write about my own experiences. I think that’s why so many young people identify with my songs, because they carry emotions that they too have felt. It’s something beautiful when you can hear what you are feeling. There are so many emotions that cannot be expressed when you are just talking regularly and music gives you that tool to express what you normally cannot.\u003c/p>\n\u003cfigure id=\"attachment_13957158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">20-year-old Mexican American singer-songwriter DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Música regional is very popular among Latino men, but it’s often tough for this group to openly share our emotions. Do you think it’s important that we as men are able to talk about what we’re feeling?\u003c/strong>\u003c/p>\n\u003cp>Yes, I think it’s always good to let out what you have inside. If you’re sad, you will never move past that if you’re afraid of saying what you feel. I think it’s good to even cry sometimes — to cry when you’re listening to music. It’s happened to me, that there are times that I feel so sad and I start listening to music. It’s kind of like adding salt to the wound but it really helps to get those emotions out and you eventually do feel better.\u003c/p>\n\u003cp>\u003cstrong>You’re listening to music feeling sad and then you slowly start getting the urge to dance, right?\u003c/strong>\u003c/p>\n\u003cp>It’s true. I’ve been listening to a lot of EDM and house music and it’s something I’ve always liked. I want to find the perfect blend for my style, bringing together música regional with house music. And we’re working on that right now with a bunch of songs and creating lyrics that carry meaning.\u003c/p>\n\u003cfigure id=\"attachment_13957051\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many of the artists you collaborate with, Iván Cornejo and Eslabón Armado, for example, are all Mexican American just like you. But for a long time, Mexican Americans were not held in the same regard in the genre because they were not born in Mexico — I’m thinking of the pushback Selena got 30 years ago when she began performing in Mexico. How does it make you feel knowing that now, the artists shaping the future of the genre are Mexican American?\u003c/strong>\u003c/p>\n\u003cp>My parents are immigrants and they came to the United States when they were around 17. They came over here because they had the dream of giving their kids a better life, and it’s thanks to this that I was born here. Things would have turned out differently had I been born in Mexicali, where they are from. [aside postid='arts_13956554']\u003c/p>\n\u003cp>By contributing to the genre and creating my own style, I think I’m honoring that — my roots, where my parents came from and all the sounds that they brought with them from Mexico. I obviously was born here but I feel 100% Mexican.\u003c/p>\n\u003cp>\u003cstrong>And within you, you also represent California. In \u003ca href=\"https://www.youtube.com/watch?v=wLKBSg3lUBA\">the music video for “El Hombre Perfecto,”\u003c/a> for example, you and your friends are practicing a choreography for a quinceañera in the front yard of a suburban home — an experience that is so emblematically Californian. Do you feel you’re also adding a uniquely Californian flavor to the genre as well?\u003c/strong>\u003c/p>\n\u003cp>I grew up here in California, grabbing on to both worlds and now mixing them together. I think it’s also cool how people in Mexico can then see what the experience is like of a Mexican kid who was born in the United States. It’s truly a mix of me growing up here, raised by Mexican parents who taught me everything.\u003c/p>\n\u003cp>\u003cstrong>Since we’re in the Bay, are there any Northern California artists that have caught your attention?\u003c/strong>\u003c/p>\n\u003cp>I’ve always liked the music by \u003ca href=\"https://www.billboard.com/artist/marca-mp/\">Marca MP\u003c/a>, from Modesto. Back when I was starting off, I would listen a lot to their music. And the guys from Eslabón Armado are also an inspiration for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Before the show, the Mexican American star spoke to KQED about creating space for vulnerability and more. ","status":"publish","parent":0,"modified":1714690740,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2208},"headData":{"title":"DannyLux Harnessed the Grief and Joy of Young Latinos at SF’s Regency Ballroom | KQED","description":"Before the show, the Mexican American star spoke to KQED about creating space for vulnerability and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"DannyLux Harnessed the Grief and Joy of Young Latinos at SF’s Regency Ballroom","datePublished":"2024-05-02T22:59:00.000Z","dateModified":"2024-05-02T22:59:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957038","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may have been \u003ca href=\"https://www.instagram.com/dannyluxfr/?hl=en\">DannyLux\u003c/a>’s first time performing in San Francisco. But when the rising regional Mexican music star stepped onto the stage at the Regency Ballroom on May 1, you would have thought he was born and raised in the Bay Area.\u003c/p>\n\u003cp>Wearing a Green Day shirt, jumping high in the air and beaming, Danny, or Daniel Balderrama Espinoza, kicked off the show with “\u003ca href=\"https://youtu.be/u4KY82PDyM4?si=gk-K26PgqxF97ZxF\">Ciudad del Sol\u003c/a>” from his latest album, \u003cem>EVOLUXIÓN\u003c/em>. The crowd of mostly young Latinos chanted his name nonstop throughout the show; many had come from as far as Santa Rosa and Gilroy.\u003c/p>\n\u003cp>At 20 years old, the Palm Springs-raised, Mexican American singer has a long list of achievements: several Gold-certified singles (the first arrived when he was only 16), a 2023 Coachella performance and a Mexican tour with Coldplay.\u003c/p>\n\u003cp>His appeal transcends language barriers: \u003ca href=\"https://www.youtube.com/watch?v=AynDvSkZ8og&t=773s\">His NPR Tiny Desk performance last year\u003c/a> confirmed that fans don’t need to speak Spanish to feel the emotion in his songs, most of them ballads with heartbreaking lyrics accompanied by acoustic guitars and downtempo bass. A little bit bolero, a little bit sierreño, a little bit corrido, but, as the young singer says, always with “el estilo del Danny” — “in Danny’s style.”\u003c/p>\n\u003cfigure id=\"attachment_13957047\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-011-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with other young talents like Eslabón Armado (NorCal locals from Patterson), Riverside’s Iván Cornejo and Los Del Limit from Midfield, Texas, Danny’s success shows that Mexican Americans are playing a critical role in \u003ca href=\"https://www.billboard.com/music/latin/sad-sirreno-mexican-sad-boys-9523696/\">the future of regional Mexican music\u003c/a>. “Me siento 100% mexicano,” he told KQED in an interview before the show. (More from that conversation below).\u003c/p>\n\u003cp>Danny’s cultural pride begins with his love for his family. After all, he creates so much of his music with them. Next to Danny on stage was his cousin, Eduardo, on bass, and Danny’s longtime friends, Daniel and César, on guitar. Danny’s parents and sister were at the show, rooting for him from backstage. In the middle of “\u003ca href=\"https://youtu.be/oslJpKmdX20?si=Xn0CAmtRUOnReMB5\">Corazón Frío\u003c/a>,” he brought out his mom for a dance and a hug. Thanking his family, Danny looked out at the crowd and added, “Hasta ustedes se sienten como mi familia.” (“Even all of you feel like my family.”)\u003c/p>\n\u003cp>Along with his smooth, melodious voice — which skillfully moved through “\u003ca href=\"https://youtu.be/QdeoocyUk68?si=3Rg_0Yv0eXuqb8k4\">El Dueño De Tu Amor\u003c/a>,” “\u003ca href=\"https://youtu.be/ibZ8Q1QdzCQ?si=BmFuxCFz3wTcEqoT\">Si Supieras\u003c/a>” (a collab with Eslabón Armado) and bachata-infused “\u003ca href=\"https://youtu.be/8HKcNkZ6okc?si=WygjdNymfmc52bcD\">El Hombre Perfecto\u003c/a>” — what makes Danny stand out as a performer is his capacity to be so transparent with his emotions. El regional mexicano has traditionally been a genre where men can openly be vulnerable, and Danny honors that legacy while pushing it forward for a new generation.\u003c/p>\n\u003cfigure id=\"attachment_13957159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-027_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux, left, and Dariell Cano, right, perform at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his first hits was “\u003ca href=\"https://youtu.be/CULF9lXH87w?si=vim-Je55uoNoQ1eT\">Jugaste y Sufrí\u003c/a>” (another collab with Eslabón Armado) from 2020, a time when many of Danny’s young fans were isolated during COVID-19 lockdowns. The track rapidly spread on TikTok, and became an outlet for young people processing intense grief.\u003c/p>\n\u003cp>On stage, Danny acknowledged the track’s impact. “Estoy aquí gracias a esta canción,” he said (“I’m here thanks to this song”), and asked the crowd to light up their phones. It felt like a full-circle moment, being able to celebrate with the artist a song many of us first heard during so much loneliness and uncertainty.\u003c/p>\n\u003cp>A couple songs later, the crowd was back to jumping and dancing to “House of Lux,” which seamlessly fuses el regional mexicano with house. “All of my songs, they’re built upon the base of regional mexicano, but I don’t want to stay in a box,” he told KQED, and added that his mind is brimming with new musical ideas.\u003c/p>\n\u003cfigure id=\"attachment_13957049\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957049\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Arias, 12, signs along with DannyLux as he performs during his “Tour of Lux” at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That vision certainly resonates in the Bay Area, where it’s common to go out and hear house, hip-hop, cumbia and Brazilian funk in the same DJ set. And of course, for diehard fans of regional and sierreño, Danny and his grupo brought it home, with Eduardo, Daniel and César rascando la guitarra — breaking into deep, melodic guitar riffs — while Danny interjected with a grito, a holler imbued with emotion that moves from the bottom to the top of your chest.\u003c/p>\n\u003cp>“¡Un grito a todos los dolidos!” — “A grito for all of those feeling grief!”\u003c/p>\n\u003cp>The crowd responded with their own gritos. Danny may not have grown up riding BART or spent Sundays chilling at Dolores Park, but on Wednesday he gave voice to so many young Latinos of the Bay who are coming into their own and seeking the words to define what they feel.\u003c/p>\n\u003cp>To adapt \u003ca href=\"https://www.nytimes.com/2018/06/28/world/americas/world-cup-mexico-south-korea.html\">a chant of solidarity made popular in Mexico City during the 2018 Men’s World Cup\u003c/a>, “Danny, Danny, hermano, ya eres sanfranciscano.”\u003c/p>\n\u003cfigure id=\"attachment_13957053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957053\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-028-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danny spoke to KQED before his San Francisco show to share more about where he wants to take his music next, why it matters to share what we feel and what it means to balance two cultures — Mexican and Californian.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. Part of the interview was translated from Spanish.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Let’s start off with your new album. You’re trying out a lot of new things, bringing things in like tropical and house, along with música regional, and you’re having a lot of fun too. Why is it so important for you to experiment?\u003c/p>\n\u003cp>\u003cstrong>DannyLux: \u003c/strong>I feel like experimenting really helps me find myself as an artist. You can’t really say you’re a certain type of genre artist if deep down you like to make more than that. All of my songs, they’re built upon the base of regional mexicano, but I don’t want to stay in a box. I want people from all over the world to be able to hear me.\u003c/p>\n\u003cp>Right now the regional mexicano genre is going up so much. It’s one of the most popular genres there is. But I don’t want to be like anyone else. A lot of people ask me, “Do you want to be the next Peso Pluma? Do you want to be the next Nata [Natanael Cano]?” But I just want to be the next DannyLux. I just want to be me.\u003c/p>\n\u003cfigure id=\"attachment_13957048\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-016-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux fans watch him perform at The Regency Ballroom in San Francisco as apart of his “Tour of Lux” on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And I can imagine that the music you’re listening to is not just música regional. You’re listening to bachata, cumbia, reggaetón.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I’m listening to a lot of things. I feel just having that knowledge of a lot of different styles of music really helps you as an artist. Honestly, I feel maybe in the future, the songs that I make five years from now are going to sound nothing like the style I make today. I don’t ever want to settle. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956734","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You’ve been creating music for a few years now. Who would you say is your audience? Who do you sing for?\u003c/strong>\u003c/p>\n\u003cp>I like to make songs with the intention of singing them to the whole world. To everyone who is in a relationship, who has had their heart broken. I like to write a lot about heartbreak and love. When I’m writing, I want people to identify with the lyrics, so my music doesn’t have a specific audience because any person could hear it.\u003c/p>\n\u003cp>I’m inspired a lot by boleros from the past, and with that older adults can enjoy my music. And the themes I talk about are for younger people because I’m a young person and I like to write about my own experiences. I think that’s why so many young people identify with my songs, because they carry emotions that they too have felt. It’s something beautiful when you can hear what you are feeling. There are so many emotions that cannot be expressed when you are just talking regularly and music gives you that tool to express what you normally cannot.\u003c/p>\n\u003cfigure id=\"attachment_13957158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DannyLux-JY-013_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">20-year-old Mexican American singer-songwriter DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Música regional is very popular among Latino men, but it’s often tough for this group to openly share our emotions. Do you think it’s important that we as men are able to talk about what we’re feeling?\u003c/strong>\u003c/p>\n\u003cp>Yes, I think it’s always good to let out what you have inside. If you’re sad, you will never move past that if you’re afraid of saying what you feel. I think it’s good to even cry sometimes — to cry when you’re listening to music. It’s happened to me, that there are times that I feel so sad and I start listening to music. It’s kind of like adding salt to the wound but it really helps to get those emotions out and you eventually do feel better.\u003c/p>\n\u003cp>\u003cstrong>You’re listening to music feeling sad and then you slowly start getting the urge to dance, right?\u003c/strong>\u003c/p>\n\u003cp>It’s true. I’ve been listening to a lot of EDM and house music and it’s something I’ve always liked. I want to find the perfect blend for my style, bringing together música regional with house music. And we’re working on that right now with a bunch of songs and creating lyrics that carry meaning.\u003c/p>\n\u003cfigure id=\"attachment_13957051\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240501-DANNYLUX-JY-023-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DannyLux performs at The Regency Ballroom in San Francisco on Wednesday, May 1, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many of the artists you collaborate with, Iván Cornejo and Eslabón Armado, for example, are all Mexican American just like you. But for a long time, Mexican Americans were not held in the same regard in the genre because they were not born in Mexico — I’m thinking of the pushback Selena got 30 years ago when she began performing in Mexico. How does it make you feel knowing that now, the artists shaping the future of the genre are Mexican American?\u003c/strong>\u003c/p>\n\u003cp>My parents are immigrants and they came to the United States when they were around 17. They came over here because they had the dream of giving their kids a better life, and it’s thanks to this that I was born here. Things would have turned out differently had I been born in Mexicali, where they are from. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contributing to the genre and creating my own style, I think I’m honoring that — my roots, where my parents came from and all the sounds that they brought with them from Mexico. I obviously was born here but I feel 100% Mexican.\u003c/p>\n\u003cp>\u003cstrong>And within you, you also represent California. In \u003ca href=\"https://www.youtube.com/watch?v=wLKBSg3lUBA\">the music video for “El Hombre Perfecto,”\u003c/a> for example, you and your friends are practicing a choreography for a quinceañera in the front yard of a suburban home — an experience that is so emblematically Californian. Do you feel you’re also adding a uniquely Californian flavor to the genre as well?\u003c/strong>\u003c/p>\n\u003cp>I grew up here in California, grabbing on to both worlds and now mixing them together. I think it’s also cool how people in Mexico can then see what the experience is like of a Mexican kid who was born in the United States. It’s truly a mix of me growing up here, raised by Mexican parents who taught me everything.\u003c/p>\n\u003cp>\u003cstrong>Since we’re in the Bay, are there any Northern California artists that have caught your attention?\u003c/strong>\u003c/p>\n\u003cp>I’ve always liked the music by \u003ca href=\"https://www.billboard.com/artist/marca-mp/\">Marca MP\u003c/a>, from Modesto. Back when I was starting off, I would listen a lot to their music. And the guys from Eslabón Armado are also an inspiration for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review","authors":["11708"],"categories":["arts_1","arts_69"],"tags":["arts_22128","arts_21992"],"featImg":"arts_13957160","label":"arts"},"arts_13956701":{"type":"posts","id":"arts_13956701","meta":{"index":"posts_1591205157","site":"arts","id":"13956701","score":null,"sort":[1714671562000]},"guestAuthors":[],"slug":"therapy-in-the-ghetto-mental-health-bayview-gunna-goes-global","title":"‘Therapy In The Ghetto: Reimagined’ to Raise Mental Health Awareness in SF’s Bayview","publishDate":1714671562,"format":"standard","headTitle":"‘Therapy In The Ghetto: Reimagined’ to Raise Mental Health Awareness in SF’s Bayview | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When kids approach the San Francisco rapper \u003ca href=\"https://www.instagram.com/gunnagoesglobal/?hl=en\">Gunna Goes Global\u003c/a> to ask why he wears an eyepatch — the result of being shot in the head at age 19 — he doesn’t see it as disrespectful.\u003c/p>\n\u003cp>“It’s a genuine question,” he recently said on the \u003ca href=\"https://www.instagram.com/reel/C31UorjxP7m/\">Blowin Smoke Podcast\u003c/a>. “I wear this as a reminder of what I’ve been through, what I come from, and what I overcame.”\u003c/p>\n\u003cp>Rather than avoid his tumultuous past, he embraces it with a deep reverence. Over the years, Gunna Goes Global has emerged as a de facto spokesperson \u003ca href=\"https://www.sfgate.com/local/article/rappers-poets-activists-say-frisco-17441731.php\">in defense of Frisco’s Black and underserved communities\u003c/a>. Having appeared in \u003ci>The Last Black Man in San Francisco\u003c/i>, the lyricist-actor is at the forefront of preserving the city’s cultural and artistic legacy, using his experiences to guide himself and those around him.\u003c/p>\n\u003cp>Currently, Gunna Goes Global is working toward a stronger sense of communal healing in his city with \u003cem>Therapy In The Ghetto: Reimagined\u003c/em>. Initially released as the 17-track album \u003cem>Therapy In The Ghetto\u003c/em> last summer, the project is now being remixed into a free gallery exhibit, which opens at the \u003ca href=\"https://rwoh.org/\">Ruth Williams Opera House\u003c/a> in Bayview on Saturday, May 4.\u003c/p>\n\u003cp>[aside postID='arts_13955706']“It’s a celebration. I ain’t gon’ lie; I’m excited. I’ve never seen anything like it in the space,” he says of the show. “We’ve turned [the album] into an experience centered around mental health topics such as depression, suicide, PTSD, postpartum, alcoholism, addiction, domestic violence and anxiety.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.blackonbothsides.org/\">Black On Both Sides\u003c/a> — a resource and empowerment program that offers financial and creative support to San Francisco’s Black artists — and \u003ca href=\"https://www.youtube.com/watch?v=T0izt3pl630\">100 MILLION Records\u003c/a>, the exhibit features Gunna Goes Global’s music fused with photographs, video and community outreach organizations from the San Francisco areas where Gunna Goes Global grew up before gentrification.\u003c/p>\n\u003cp>In one area you might learn — through rap lyrics, medical definitions, photos and a brief clip — about the ways in which opioid addiction impacts certain neighborhoods of San Francisco. In another part of the gallery, you can speak with someone about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTJypGjYhqg\u003c/p>\n\u003cp>It’s not Gunna Goes Global’s first attempt at uniting San Franciscans to confront difficult issues. He’s been on local TV speaking out against educational injustice, and he appears on podcasts and web series to discuss topics traditionally shied away from, particularly among men and communities of color.\u003c/p>\n\u003cp>“A lot of popping pills, all that shit, it may feel good, but where you going to be at 50? Where you going to be at 40? Where you going to be at 60? What’s going to be the quality of life?” he said during an online interview series also titled “\u003ca href=\"https://www.youtube.com/watch?v=mJyAteCAgDc\">Therapy In The Ghetto\u003c/a>”. In the multi-episode videos, each session begins with a big-picture question, like “What would be some solutions for those who are in pain?” or “Have you ever dealt with financial poverty?” His answers regularly mix philosophical insight and hardened pragmatism.\u003c/p>\n\u003cp>[aside postID='arts_13913540']At its nucleus, \u003ci>Therapy In The Ghetto\u003c/i> — both the album and the upcoming exhibit — offers an inclusive space to poetically explore the effects of communal and personal traumas for communities deserving of that care.\u003c/p>\n\u003cp>“Mental health is applicable to those in historically marginalized communities, too,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Therapy in the Ghetto’ takes place on Saturday, May 4, from 5 p.m. to 10 p.m. at the Ruth Williams Opera House (formerly the Bayview Opera House) in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/therapy-in-the-ghetto-art-exhibit-inspired-by-gunna-goes-global-tickets-884680752947\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco's Gunna Goes Global brings the community together for a therapeutic exhibit in Hunters Point.","status":"publish","parent":0,"modified":1714702130,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":640},"headData":{"title":"‘Therapy In The Ghetto: Reimagined’ to Raise Mental Health Awareness in SF’s Bayview | KQED","description":"San Francisco's Gunna Goes Global brings the community together for a therapeutic exhibit in Hunters Point.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Therapy In The Ghetto: Reimagined’ to Raise Mental Health Awareness in SF’s Bayview","datePublished":"2024-05-02T17:39:22.000Z","dateModified":"2024-05-03T02:08:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"therapy-in-the-ghetto-reimagined-to-raise-mental-health-awareness-in-sfs-bayview","nprStoryId":"kqed-13956701","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956701/therapy-in-the-ghetto-mental-health-bayview-gunna-goes-global","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When kids approach the San Francisco rapper \u003ca href=\"https://www.instagram.com/gunnagoesglobal/?hl=en\">Gunna Goes Global\u003c/a> to ask why he wears an eyepatch — the result of being shot in the head at age 19 — he doesn’t see it as disrespectful.\u003c/p>\n\u003cp>“It’s a genuine question,” he recently said on the \u003ca href=\"https://www.instagram.com/reel/C31UorjxP7m/\">Blowin Smoke Podcast\u003c/a>. “I wear this as a reminder of what I’ve been through, what I come from, and what I overcame.”\u003c/p>\n\u003cp>Rather than avoid his tumultuous past, he embraces it with a deep reverence. Over the years, Gunna Goes Global has emerged as a de facto spokesperson \u003ca href=\"https://www.sfgate.com/local/article/rappers-poets-activists-say-frisco-17441731.php\">in defense of Frisco’s Black and underserved communities\u003c/a>. Having appeared in \u003ci>The Last Black Man in San Francisco\u003c/i>, the lyricist-actor is at the forefront of preserving the city’s cultural and artistic legacy, using his experiences to guide himself and those around him.\u003c/p>\n\u003cp>Currently, Gunna Goes Global is working toward a stronger sense of communal healing in his city with \u003cem>Therapy In The Ghetto: Reimagined\u003c/em>. Initially released as the 17-track album \u003cem>Therapy In The Ghetto\u003c/em> last summer, the project is now being remixed into a free gallery exhibit, which opens at the \u003ca href=\"https://rwoh.org/\">Ruth Williams Opera House\u003c/a> in Bayview on Saturday, May 4.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955706","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s a celebration. I ain’t gon’ lie; I’m excited. I’ve never seen anything like it in the space,” he says of the show. “We’ve turned [the album] into an experience centered around mental health topics such as depression, suicide, PTSD, postpartum, alcoholism, addiction, domestic violence and anxiety.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.blackonbothsides.org/\">Black On Both Sides\u003c/a> — a resource and empowerment program that offers financial and creative support to San Francisco’s Black artists — and \u003ca href=\"https://www.youtube.com/watch?v=T0izt3pl630\">100 MILLION Records\u003c/a>, the exhibit features Gunna Goes Global’s music fused with photographs, video and community outreach organizations from the San Francisco areas where Gunna Goes Global grew up before gentrification.\u003c/p>\n\u003cp>In one area you might learn — through rap lyrics, medical definitions, photos and a brief clip — about the ways in which opioid addiction impacts certain neighborhoods of San Francisco. In another part of the gallery, you can speak with someone about it.\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/YTJypGjYhqg'\n title='//www.youtube.com/embed/YTJypGjYhqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not Gunna Goes Global’s first attempt at uniting San Franciscans to confront difficult issues. He’s been on local TV speaking out against educational injustice, and he appears on podcasts and web series to discuss topics traditionally shied away from, particularly among men and communities of color.\u003c/p>\n\u003cp>“A lot of popping pills, all that shit, it may feel good, but where you going to be at 50? Where you going to be at 40? Where you going to be at 60? What’s going to be the quality of life?” he said during an online interview series also titled “\u003ca href=\"https://www.youtube.com/watch?v=mJyAteCAgDc\">Therapy In The Ghetto\u003c/a>”. In the multi-episode videos, each session begins with a big-picture question, like “What would be some solutions for those who are in pain?” or “Have you ever dealt with financial poverty?” His answers regularly mix philosophical insight and hardened pragmatism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913540","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At its nucleus, \u003ci>Therapy In The Ghetto\u003c/i> — both the album and the upcoming exhibit — offers an inclusive space to poetically explore the effects of communal and personal traumas for communities deserving of that care.\u003c/p>\n\u003cp>“Mental health is applicable to those in historically marginalized communities, too,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Therapy in the Ghetto’ takes place on Saturday, May 4, from 5 p.m. to 10 p.m. at the Ruth Williams Opera House (formerly the Bayview Opera House) in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/therapy-in-the-ghetto-art-exhibit-inspired-by-gunna-goes-global-tickets-884680752947\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956701/therapy-in-the-ghetto-mental-health-bayview-gunna-goes-global","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_4018","arts_22082","arts_831","arts_4017","arts_1146","arts_585"],"featImg":"arts_13957076","label":"arts_140"},"arts_13956979":{"type":"posts","id":"arts_13956979","meta":{"index":"posts_1591205157","site":"arts","id":"13956979","score":null,"sort":[1714670010000]},"guestAuthors":[],"slug":"art-of-noise-sfmoma-music-fillmore-stereo-review","title":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","publishDate":1714670010,"format":"standard","headTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. A larger room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","status":"publish","parent":0,"modified":1714762483,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":979},"headData":{"title":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways | KQED","description":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","ogTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","ogDescription":"","ogImgId":"","twTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","twDescription":"","twImgId":"","socialTitle":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","datePublished":"2024-05-02T17:13:30.000Z","dateModified":"2024-05-03T18:54:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956979","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13414955","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. A larger room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_10278","arts_1806","arts_831","arts_1420","arts_769","arts_22122","arts_1146","arts_1381","arts_585"],"featImg":"arts_13957027","label":"arts_140"},"arts_13956839":{"type":"posts","id":"arts_13956839","meta":{"index":"posts_1591205157","site":"arts","id":"13956839","score":null,"sort":[1714644031000]},"guestAuthors":[],"slug":"dj-d-sharp","title":"D Sharp: The DJ with Four NBA Championship Rings","publishDate":1714644031,"format":"audio","headTitle":"D Sharp: The DJ with Four NBA Championship Rings | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"DJ D Sharp talks about spinning for Golden State Warriors games while building a legacy for his family.","status":"publish","parent":0,"modified":1714676977,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":85,"wordCount":3938},"headData":{"title":"D Sharp: The DJ with Four NBA Championship Rings | KQED","description":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin'. During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center's speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: DJ D Sharp.","schema":{"@context":"http://schema.org","@type":"Article","headline":"D Sharp: The DJ with Four NBA Championship Rings","datePublished":"2024-05-02T10:00:31.000Z","dateModified":"2024-05-02T19:09:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7887334509.mp3?updated=1714612024","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956839/dj-d-sharp","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The Golden State Warriors had a rough 2023-2024 campaign, but at least the music was slappin’.\u003c/p>\n\u003cp>During timeouts, breaks between quarters and sometimes even when the ball was in play, the Chase Center’s speakers would vibrate with the sounds of legendary Bay Area hip-hop artists. The person often on the turntables making it happen: \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956841\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg\" alt=\"Man with headphones on looks into the camera with an upbeat expression. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJDSharp-by-Squint-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ D Sharp on the ones and twos at Chase Center. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been the Warriors in-house DJ for a decade, providing the soundtrack for Steph, Klay, Draymond and company during their legendary run of four NBA championships. DJ D Sharp, clearly an essential part of the team, even has four NBA championship rings of his own.\u003c/p>\n\u003cp>Outside of the arena, DJ D Sharp is a radio show host for 106.1 KMEL and producer for Bay Area hip-hop artists. Over the past year, he’s produced projects for North Oakland’s \u003ca href=\"https://www.instagram.com/stspittin/\" target=\"_blank\" rel=\"noopener\">ST Spittin\u003c/a>, the East Bay collective \u003ca href=\"https://www.instagram.com/macarthurmaze/\" target=\"_blank\" rel=\"noopener\">MacArthur Maze\u003c/a> and a soon-to-be released project with East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a>.\u003c/p>\n\u003cp>Raised in East Oakland himself, DJ D Sharp has been a producer and DJ since his teens. Given all his accomplishments, from working with the likes of Lauryn Hill and Kelly Rowland to making an appearance at the 2024 NBA All-Star Game, DJ D Sharp has a lot to be proud of. This week, we talk about providing a soundtrack for the Warriors’ dynasty while building a lasting legacy for his family and community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7887334509\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/p>\n\u003cp>[Music playing]\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your guy, Pendarvis Harshaw. Tapping in with my Warriors fans out there. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Sigh]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> What a season, talk about some highs and some lows, maybe the end of a dynasty. Who knows? Look, I’m not trying to wallow in the sad news– cause there’s always next year, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">At least there’s one thing we know for sure: in 2025 the NBA-All Stars game is coming to the Bay, so you know it’s gonna be lit with events in the Town and in Frisco and one person who is sure to be in the mix: DJ D Sharp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s the Warriors in-house DJ, which means during a game, when there’s a break in the action or even sometimes while the ball is in play, you can hear him on the 1s and 2s. And every once in a while you can even look up and see him stunting on the jumbotron. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of being the Warriors DJ, he’s a hip-hop producer. Recently he’s done projects with North Oakland’s ST Spittin and the group, MacArthur Maze. He’s been producing for just about as long as he’s been a DJ– dating back to his teens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">As a guy who was raised in East Oakland, DJ D Sharp says it’s been a dream being a part of the Warriors franchise.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t take none of it for granted. Like, it’s an amazing experience to deejay in front of 20,000 people every night and to get the love from the people too. It’s just amazing, bro. Like, I’m blessed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So for this episode, we chop it up about his journey to the Warriors, providing the soundtrack for a basketball dynasty and what legacy he’s building for the Town and his family, coming up after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bringing you into the discussion today, excited to talk to you because you are at the helm of something very important: you provide the soundtrack to one of my favorite sports teams. And you’ve produced some really tight projects over the last couple of years out of, out of the East Bay. Let’s start at the start. What came first: deejaying or producing?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Deejaying most definitely came first. I was collecting records and like, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Rap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> era, like, it was just like, I loved it and I couldn’t, you know, step away from the TV. I was always tuned in, dialed in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was the first piece of equipment you had?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first piece of equipment I had was my mom’s turn table. It was some off-brand name. I was on that thing learning. And then I was like, oh, I need a mixer and then I got a mixer from the homie down the street.\u003c/span> \u003cspan style=\"font-weight: 400\">But my pops is uh, he’s a musician and he played the keyboards and he had bands and all that kind of stuff. So he’d buy the latest drum machine, and then I’d just be playing on it, and then next thing you know, he’d forget about it and he giving it to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I caught on a real fast to the point where I think that’s why people started giving me equipment, giving me records and giving me stuff because they were seeing it. They was like, yo, he got it. Like, take this and go play. Go, go, go, go, experiment with this and then come back to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What age are we talking about here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> 12. 13. 14.\u003c/span>\u003cb> I \u003c/b>\u003cspan style=\"font-weight: 400\">had homies in Richmond, who I would go spend a weekend, every other weekend with them. My boy Aaron ,we were the same age, so we would we would hang out and his brothers was deejays. So I go to they house and just get equipment. Like, I come home with records.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a community effort for sure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of these factors pouring into you, a lot of Bay area energy. You said either in the town or in Richmond. You did mention that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Yo! MTV Raps\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> having that influence on you as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering like, does this whole trope about, you know, all Bay area music all sounds the same and how like there’s an east coast sound and a west coast sound, did that ever play a part in you developing your style?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">When people heard me out deejaying and it’d be like the first question they asked me all the time was, was I from the east coast, “because you don’t you don’t deejay like these other cats. Like you, where are you from?” I’m like ‘I’m from East Oakland.’ Like, you know what I’m saying? They’d be like, “What?” I’d be like, ‘Yeah.’\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You know, being from the Town, you know, it’s all about the knock. It’s all about the slump. It’s all about, you know,415’s. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">So I came from that but also came from the choppin’ samples and that side of hip hop is the drum breaks and stuff like that. So like I’m taking the drum breaking and adding 808 to it, you get what I’m saying, like, you know,Too $hort, like, “In The Trunk” Like you listen to “In The Trunk” that’s what that is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can hear it in my sound in a production, like, for me, I grew up loving Gang Starr as much as I love Ant Banks and Spice 1. I love Too $hort just as much as I loved Big Daddy Kane.\u003c/span> \u003cspan style=\"font-weight: 400\">I was just immersed in hip hop.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those early days of getting into the game and you start working with some, some pretty heavyweight names in the industry.\u003c/span> \u003cspan style=\"font-weight: 400\">For a time period, you were tour deejay for Lauryn Hill?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes! ‘Cause Kev Choice had tapped me to be the tour DJ for Lauryn because she tapped him to be the music director. Me and Kev go way back to Brookfield Elementary. You know, anytime he thinks of a DJ, anytime I think of, some, a multi instrumentalist, I think, of Kev. So we collab and we always look out for each other.\u003c/span> \u003cspan style=\"font-weight: 400\">So, yeah, Lauryn Hill was craz and it was a dope run, and I learned a lot from her. We all did.\u003c/span> \u003cspan style=\"font-weight: 400\">And I became a tour deejay all the way up until 2010, so you talking ten years.\u003c/span> \u003cspan style=\"font-weight: 400\">We toured heavy with will.i.am. And I saw will.i.am at a Warriors game. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he was like, “You the Warriors Dj?” He was like “Oh okay, that’s whats up,” you know what I mean. So it all be a full circle moment.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of promotional video] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One more time, give it up for DJ D Sharp, come on!”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [basketball arena crowd cheers] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve mentioned The Warriors, you’ve been there over a dozen years now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring me back to the start. How do you land that gig?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">God bless the dead DJ Solomon. He was the first deejay for the Warriors and I argue that he might have been the first deejay in the NBA. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">He taught me a lot. He was a peer but he was also a mentor and I met him at a Blackalicious show. He he approached me and he said, “Bro, like your scratching, bro, it’s so crazy. Like, I DJ for the Warriors and you know, we’d love to have you come and just do a 2 x 4 set with me.” I was like ‘Yeah it’s all good,’ we exchanged numbers.” We killed it. We had a good time. \u003c/span>\u003cspan style=\"font-weight: 400\">And then he was like, “Let’s do it again.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\"> And then he would do it with other deejays as well in the community. But then, he got busy, like, he was a part of the whole Serato situation. For those who don’t know, Serrato was the software used by DJs, just like, the number one software. But like, if you look back at the promo, bro is on the promo with like Z trip, DJ Jazzy Jeff, like Qbert, like with all the these heavy hitter deejays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He got busy. So he couldn’t do a lot of games. So he would, like, send out these emails to a bunch of DJs and, and, you know, for some reason, it felt like I was always the one who answered the emails.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is when the Warriors sucked too, right. This is like pre, “we believe.” And then when “we believe” came like I was still filling in for him. But he did like all that playoff run and all that kind of stuff. And then up until 2012, he… man, yeah, he passed away, man, and then the Warriors offered me the gig.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before the Dynasty and Steph, Klay and Dre like in the early days like what does it mean to be a part of the entertainment of a team that’s not performing too well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That was what it was all about. It was about the entertainment, right? because the team wasn’t good. So if you, if you, remember we had Thunder.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing, crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thunder was the mascot for the Warriors. Thunder was the highlight, you know, dunking and doing his thing and going all around the arena ya know what I mean? Thunder was the man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Brett Yamaguchi, who was the head of all the entertainment. He made it where the entertainment was top notch. Like the t-shirt toss and like, the Warriors dance team and like all of that stuff, like, you know those timeouts, those breaks, those contests, like, all of that stuff was more exciting than the game itself \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> You get what I’m saying?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Warriors chant]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I do remember the arena always being filled. Like, people will always show up for the warriors, like, regardless of the losing seasons and all of that kinda stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m rolling. I’m sorry. Yeah. You’re like “it was always packed,” like, yeah, because people got free tickets from the library, from Lucky’s, Round Table. But yeah, those were good times. You know, there was no winning in sight. I couldn’t foresee a Steph, Klay, Dray, like, dynasty like we have now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">No one could bro. And that’s the, that’s the magic and the beauty of it all, right?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. Do you have a certain song that you go to for a certain situation? like say, I don’t know, it’s 24 seconds left on the clock and the Warriors got the ball, they down, you know, a point and you want the crowd to get amped during that half, during that timeout right before the ball comes into play. Do you have a song that will play for folks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">The only song that really that I go like, is a go to song when it’s cracking and is going stupid in there,I did like a house remix for the E-40 remix. So I do that a lot because it’s a lot of energy. “Everybody say Warriors, Warriors” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\"> I play that in moments like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You deejay for the Warriors during this, like historical run, right, for this past decade. And when they play these clips as these players Steph, Klay, Dre go into the Hall of Fame, they’ll have those songs in the background as the clips play. Like, does that ever like, occur to you that you’re kind of laying the soundtrack for history?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I think about it, you know ? Because it’s like, you know, I mean, I’ve had Steph, I’ve had Coach Kerr, I’ve had Loon, even GP too like, like I’ve had these brothers come up to me telling me, I make an impact. So it’s dope to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, you’re a valued member of the team. You’ve got championship rings, multiple.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: yeah, \u003c/b>\u003cspan style=\"font-weight: 400\">No. It’s crazy. There’s one for each member of my family. Me, my wife and my two sons. We got four.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">For you personally this year,while, the team has had its ups and downs, and a lot of down, you personally have had some some pretty big highlights, All Sar, All Star 2024?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, I was tapped to go and do All Star 2024. I did the celebrity game and that was fun. You know, that experience is amazing and is coming to the Bay area.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You think that this means a lot to the entire Bay area, I’m assuming?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh for sure, for sure, man.I think the Bay is getting a bad rap right now from the homelessness to everything that’s going on with the crime and bippin’ and all that kind of stuff.\u003c/span> \u003cspan style=\"font-weight: 400\">But when you talk to people and you talk to family in other cities and other locations, like, this is going on across the country, across the world, like bippin’ is happening, like it’s worse in Atlanta as far as I know. But it don’t get amplified like it does here in the Bay for some reason.\u003c/span> \u003cspan style=\"font-weight: 400\">Oakland gets a bad rap, especially like, we been lost all of our teams. It’s like they trying to like, cleanse us of Oakland. It’s like, what are we doing? Like, no, Oakland is beautiful and it needs to be put on a pedestal.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp:\u003c/b>\u003cspan style=\"font-weight: 400\">It’s heartbreaking to see. But at the same time, I think Oakland gonna eventually end up being on top like we always are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, as you talk about it, it’s kind of wild to me that you see it on both sides like the professional, the sports team, you were there for the Warriors move away from the town and through the music. The music is always an underdog to the bigger cities. And so playing that role, you’re carrying a lot of weight there!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Again, I see us, like, rising from the ashes like we here, Like, this is what we do. So, yeah, we’ll be aight.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So beyond basketball, you’re also part owner of the Oakland Roots soccer team. Like, how did how did that come to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That sound crazy, don’t it, right? Shout out my sister, she hit me up. She was like, you know, “There’s rare opportunity to be a part of this, the growth of what’s going on with the Oakland Roots, Oakland Soul.” And she sent me the information and it was kind of like, a no brainer. And it’s going back to like, my kids, like, I’m looking at that. Like, I’m trying to set up something for them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And on top of that, you look at Oakland Soul and you look at Oakland Roots, right. They are here. They are Oakland. You get what I’m saying? And I don’t, I don’t never see them, you know, packing up and going out. I only see them growing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sons are humongous soccer fans, so they know all the players. They know everything about it. So, it was just a wonderful opportunity that I had to kind of just, I had to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So you, where you are in your career again, both in the the DJ realm, the production realm, you also have these two little ones that you mentioned before, your children, and also your wife, I’m like, your family, what does it mean to them to see you in the position that you’re in?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I tell you this about my boys, man, and one of the things I love the most, because they love music and they love basketball. I’m able to provide them resources that I didn’t have coming up, which is a blessing. I mean, these boys are playing AAU basketball, you know, karate, soccer league, they doing all the sports. \u003c/span>\u003cspan style=\"font-weight: 400\">They have a story within themselves, like, they were able to be in a parade twice. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>DJ D Sharp:\u003c/strong> So my whole family, we had our own car in a parade, and they waving to people and doing all this stuff, so it’s like, especially my 11 year old, to see his confidence. And, you know, I love it. Like, he’s a confident kid. He’s like, real headstrong. He knows what he wants and he he goes for it. That’s all I can ask, man.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sounds like you’re passing on more than a championship ring.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s the whole thing about fatherhood, you just want, you want to give them what you didn’t have, but you also want to teach them things, valuable lessons you’ve learned and pass them on, so yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Congrats to that!\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>One more time for DJ D Sharp. Thank you for your time, your story and your work!\u003c/p>\n\u003cp>All the info on his latest music projects can be found on his Instagram at DJD Sharp, all one word. Or check out his music on any streaming platform, under DJ D Sharp.\u003cb>\u003c/b>\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Egusa and Chris Hambrick both held it down for edits. We call that the Chris cross connection. Christopher Beale engineered this joint. The music you heard was courtesy of D Sharp. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger.\u003c/p>\n\u003cp>If you like what you hear and have the means to do so, we ask that you consider supporting dope local programming like this show. Visit KQED dot org slash donate. We appreciate ya.\u003c/p>\n\u003cp>Rightnowish is a KQED production. Until next time, peace\u003c/p>\n\u003cp>\u003cb>DJ D Sharp, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thunder was the mascot for the Warriors. You probably know this story, Pen, the story about how they went to China and he never came back. Like, he got married and settled and had a family over there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I did not hear this story at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>DJ D Sharp: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if it was PR or it was a fan. It’s crazy, look it up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw, host\u003c/b>\u003cspan style=\"font-weight: 400\">: We did look it up. And buried on the Warriors official Youtube page, we found this: a 10 year old video explaining why the Dubs’ beloved mascot Thunder is no longer with the team.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from “Thunder: Found in China”:\u003c/b> \u003cspan style=\"font-weight: 400\">I came to China with the Warriors for the NBA China Games in 2008, and I started dancing with Chinese fans like I had never danced before. I also met the love of my life here in China and never looked back and I’m not coming back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Life, love, dunking and dancing, China has it all for me. At first there were struggles fitting in, but I found an inner peace. And I want you to know. While I miss you dearly, Warriors fans, you taught me what it was to be thunder. But now my home is China. Sincerely, Léijong \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956839/dj-d-sharp","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_69","arts_13238"],"tags":["arts_5786","arts_1331","arts_2852","arts_831","arts_1143","arts_3298"],"featImg":"arts_13956840","label":"arts_8720"},"arts_13956967":{"type":"posts","id":"arts_13956967","meta":{"index":"posts_1591205157","site":"arts","id":"13956967","score":null,"sort":[1714597245000]},"guestAuthors":[],"slug":"r-o-kwon-exhibit-new-novel-ingrid-rojas-contreras-book-launch","title":"R.O. Kwon’s New Novel ‘Exhibit’ Sizzles With Taboo Desire","publishDate":1714597245,"format":"standard","headTitle":"R.O. Kwon’s New Novel ‘Exhibit’ Sizzles With Taboo Desire | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In her forthcoming second novel \u003ci>Exhibit\u003c/i>, San Francisco author R.O. Kwon extracts hidden, taboo desires with precision, and her hair-raising prose sizzles.\u003c/p>\n\u003cp>After photographer Jin Han meets injured ballet dancer Lidija Jung at a party, the two women are inexplicably drawn to one another. Jin is married to her college boyfriend, Philip, but, at 29 years old, they’re on two different paths. Philip badly wants children. Jin — a lapsed Christian — doesn’t, and she can’t help but wonder about the kinkier, queerer side of her sexuality that she’s not able to explore in her marriage. \u003c/p>\n\u003cfigure id=\"attachment_13956991\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot.jpg\" alt=\"\" width=\"1000\" height=\"1571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-800x1257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-768x1207.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-978x1536.jpg 978w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Exhibit’ by R.O. Kwon. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jin’s chance encounter with Lidija threatens to turn everything upside down, and Kwon tells the story of their mutual obsession with propulsive writing that’s intensely physical. Your stomach might lurch and your heart might beat faster as you enter Jin’s inner monologue of suppressed wants bursting at the seams. With commentary on racialized and gendered expectations of Asian American women, and interwoven parallels to Korean folklore, this book is both hot and smart.\u003c/p>\n\u003cp>Ahead of \u003ci>Exhibit\u003c/i>’s May 21 release via Riverhead Books, readers have the opportunity to hear from Kwon directly on \u003ca href=\"https://www.eventbrite.com/e/ro-kwon-exhibit-launch-party-with-ingrid-rojas-contreras-tickets-872971961637\">May 20 during a reading and launch party\u003c/a> at San Francisco’s Verdi Club presented by Green Apple Books and Litquake. She’ll be in conversation with Ingrid Rojas Contreras, a Colombian American author (and KQED’s former book columnist) whose 2022 book \u003ci>The Man Who Could Move Clouds\u003c/i> set a new standard for memoirs. It traces the author’s family legacy of supernatural gifts and curanderismo through vivid portrayals of women with irrepressible appetites for freedom. As she takes us into her grandparents’ world in its tropical setting, humidity emanates off the page.\u003c/p>\n\u003cp>With these two talents present, the evening promises a fruitful conversation. R.O. Kwon’s 2018 debut novel \u003ci>The Incendiaries\u003c/i>, about a Korean American Christian who becomes radicalized to the extreme right, stemmed from the author’s own journey of leaving her faith. As a co-editor and contributor to the \u003ca href=\"https://www.kqed.org/arts/13892182/kink-lifts-the-veil-on-taboos-with-steamy-short-stories\">short-story collection \u003ci>Kink\u003c/i>\u003c/a>, Kwon began exploring sexual freedom after religious repression. That theme takes flight in \u003ci>Exhibit\u003c/i>, which sees her reach a new level of her literary trajectory.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>R.O. Kwon’s ‘Exhibit’ \u003ca href=\"https://www.eventbrite.com/e/ro-kwon-exhibit-launch-party-with-ingrid-rojas-contreras-tickets-872971961637\">launch party\u003c/a> with Ingrid Rojas Contreras takes places on May 20 at Verdi Club (2424 Mariposa St., San Francisco). Attendees may purchase a book with their ticket. VIP entry includes a Polaroid photo with the author, early entry and reserved seating. An audience Q&A and signing will follow the conversation.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The SF author will be in conversation with local luminary Ingrid Rojas Contreras at the May 20 book launch.","status":"publish","parent":0,"modified":1714597245,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":458},"headData":{"title":"R.O. Kwon’s New Novel ‘Exhibit’ Sizzles With Taboo Desire | KQED","description":"The SF author will be in conversation with local luminary Ingrid Rojas Contreras at the May 20 book launch.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"R.O. Kwon’s New Novel ‘Exhibit’ Sizzles With Taboo Desire","datePublished":"2024-05-01T21:00:45.000Z","dateModified":"2024-05-01T21:00:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956967","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956967/r-o-kwon-exhibit-new-novel-ingrid-rojas-contreras-book-launch","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her forthcoming second novel \u003ci>Exhibit\u003c/i>, San Francisco author R.O. Kwon extracts hidden, taboo desires with precision, and her hair-raising prose sizzles.\u003c/p>\n\u003cp>After photographer Jin Han meets injured ballet dancer Lidija Jung at a party, the two women are inexplicably drawn to one another. Jin is married to her college boyfriend, Philip, but, at 29 years old, they’re on two different paths. Philip badly wants children. Jin — a lapsed Christian — doesn’t, and she can’t help but wonder about the kinkier, queerer side of her sexuality that she’s not able to explore in her marriage. \u003c/p>\n\u003cfigure id=\"attachment_13956991\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot.jpg\" alt=\"\" width=\"1000\" height=\"1571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-800x1257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-768x1207.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/EXIBIT-CoverShot-978x1536.jpg 978w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Exhibit’ by R.O. Kwon. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jin’s chance encounter with Lidija threatens to turn everything upside down, and Kwon tells the story of their mutual obsession with propulsive writing that’s intensely physical. Your stomach might lurch and your heart might beat faster as you enter Jin’s inner monologue of suppressed wants bursting at the seams. With commentary on racialized and gendered expectations of Asian American women, and interwoven parallels to Korean folklore, this book is both hot and smart.\u003c/p>\n\u003cp>Ahead of \u003ci>Exhibit\u003c/i>’s May 21 release via Riverhead Books, readers have the opportunity to hear from Kwon directly on \u003ca href=\"https://www.eventbrite.com/e/ro-kwon-exhibit-launch-party-with-ingrid-rojas-contreras-tickets-872971961637\">May 20 during a reading and launch party\u003c/a> at San Francisco’s Verdi Club presented by Green Apple Books and Litquake. She’ll be in conversation with Ingrid Rojas Contreras, a Colombian American author (and KQED’s former book columnist) whose 2022 book \u003ci>The Man Who Could Move Clouds\u003c/i> set a new standard for memoirs. It traces the author’s family legacy of supernatural gifts and curanderismo through vivid portrayals of women with irrepressible appetites for freedom. As she takes us into her grandparents’ world in its tropical setting, humidity emanates off the page.\u003c/p>\n\u003cp>With these two talents present, the evening promises a fruitful conversation. R.O. Kwon’s 2018 debut novel \u003ci>The Incendiaries\u003c/i>, about a Korean American Christian who becomes radicalized to the extreme right, stemmed from the author’s own journey of leaving her faith. As a co-editor and contributor to the \u003ca href=\"https://www.kqed.org/arts/13892182/kink-lifts-the-veil-on-taboos-with-steamy-short-stories\">short-story collection \u003ci>Kink\u003c/i>\u003c/a>, Kwon began exploring sexual freedom after religious repression. That theme takes flight in \u003ci>Exhibit\u003c/i>, which sees her reach a new level of her literary trajectory.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>R.O. Kwon’s ‘Exhibit’ \u003ca href=\"https://www.eventbrite.com/e/ro-kwon-exhibit-launch-party-with-ingrid-rojas-contreras-tickets-872971961637\">launch party\u003c/a> with Ingrid Rojas Contreras takes places on May 20 at Verdi Club (2424 Mariposa St., San Francisco). Attendees may purchase a book with their ticket. VIP entry includes a Polaroid photo with the author, early entry and reserved seating. An audience Q&A and signing will follow the conversation.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956967/r-o-kwon-exhibit-new-novel-ingrid-rojas-contreras-book-launch","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_585"],"featImg":"arts_13880965","label":"arts_140"},"arts_13956954":{"type":"posts","id":"arts_13956954","meta":{"index":"posts_1591205157","site":"arts","id":"13956954","score":null,"sort":[1714586439000]},"guestAuthors":[{"ID":"13818453","displayName":"Sidney Madden","firstName":"Sidney","lastName":"Madden","userLogin":"sidney-madden","userEmail":"","linkedAccount":"","website":"https://www.npr.org/people/565465074/sidney-madden","description":"","userNicename":"sidney-madden","type":"guest-author","nickname":""}],"slug":"kendrick-lamar-drake-beef-euphoria-push-ups-like-that","title":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","publishDate":1714586439,"format":"standard","headTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NPqDIwWMtxg\u003c/p>\n\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>[aside postid='arts_13955802']It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13912853']The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n","blocks":[],"excerpt":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","status":"publish","parent":0,"modified":1714670802,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":994},"headData":{"title":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom | KQED","description":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","ogTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","ogDescription":"","ogImgId":"","twTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","twDescription":"","twImgId":"","socialTitle":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","datePublished":"2024-05-01T18:00:39.000Z","dateModified":"2024-05-02T17:26:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Sidney Madden, NPR","nprStoryId":"1248232222","nprHtmlLink":"https://www.npr.org/2024/04/30/1248232222/kendrick-lamar-euphoria-drake-rap-beef","nprRetrievedStory":"1","nprPubDate":"2024-04-30T16:48:46-04:00","nprStoryDate":"2024-04-30T16:48:46-04:00","nprLastModifiedDate":"2024-04-30T16:48:46-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\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/NPqDIwWMtxg'\n title='//www.youtube.com/embed/NPqDIwWMtxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955802","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13912853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","authors":["byline_arts_13956954"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_6117","arts_831","arts_1774"],"affiliates":["arts_137"],"featImg":"arts_13956955","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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