philadelphia

Jesse Kardon has come a long way from his days as a teenager messing around with Ableton in his bedroom. The 33-year-old DJ and producer better known as Subtronics is now an established EDM star. Over the last 15 years, he has built a career that has taken him from playing small clubs in his hometown of Philadelphia to a fall headlining set at the Sphere in Las Vegas and then a landmark run of six sold-out shows at L.A.’s Shrine Auditorium in December.

Back in 2022, he performed a surprise set at Coachella’s intimate electronic-focused Do Lab stage, but this year marks his proper Indio, Calif., debut where he is the highest-billed dubstep-rooted artist, playing the massive Sahara Tent on Sunday and April 19. He will also perform two Southland shows between his Coachella sets at the Fox Theater in Pomona on Tuesday and at the GV Surf Club in Palm Springs on April 18.

While EDM has emerged over the years as a dominant force, comprising nearly 45% of this year’s lineup, artists from the sometimes polarizing dubstep/riddim scene are rarely given such a prominent platform.

Subtronics’ sound has expanded in recent years. His remix of John Summit’s “Crystallized feat. Inéz” has garnered praise, while “Fibonacci Pt. 2,” his latest in a set of math-inspired releases, interweaves the melodic with the heavy. “Infinity,” featuring fellow EDM DJ Grabbitz, and “Contour,” featuring vocalist Lyrah, stand out.

Although his work has evolved to include more melodic soundscapes, Subtronics remains committed to bringing more people to a better understanding of the genre that first brought his life into focus. He will never forget how playing drums for years as a kid taught him the foundations of rhythm, and he carries the gritty sounds of Philadelphia hip-hop and trap that shaped that sound into his work today.

Dubstep has affected his life in deeply personal ways. As a kid, a shared love of the scene brought him closer to his sister. Later on, he met Sonya Broner, the dubstep artist known as Level Up. Broner is now his wife, and they often collaborate.

In a remote conversation from his new home in Laurel Canyon, Subtronics talks about his milestone Coachella run and shares thoughts on everything from what to expect from his set to his legacy in dubstep and beyond.

This interview is lightly edited and condensed for clarity.

I’m really hopeful to introduce bass music to a lot of new people, because I believe the rising tide raises all ships,” Subtronics said.

(Jason Fenmore)

What is your mindset? How are you feeling going into this weekend?

“I’ve been really super hyper focused on Coachella for about, pretty much the moment we finished the tour, which was about two, three weeks ago. It’s been really all hands on deck, nonstop working on that.”

Take me back to when you first got the news that you booked Coachella. Was that something you and your team had been working specifically toward?

“It was honestly, an almost several year plan where that really was the goal, and we were kind of thinking of the different opportunities we’ve had over the years, and the things we were going to have going forward, and how could we strategize in a way where we can work our way towards Coachella, and that’s kind of what the Shrine was. The hope was like, if we can sell out three [nights at Shrine], we’ve got a pretty good chance of getting a booking, and then we sold out a ton of them. It’s such a good time slot on such a great stage…both me and my inner child are completely freaking out.”

Did you take a moment to celebrate?

“Absolutely, yes. And you know what? It always comes in the form of, like, little moments. Because I do get so… I do have these “pause” moments where it’s like, ‘Stop and appreciate how far you’ve come.’ ‘Stop and realize the gravity of this. You’re really doing these things; all of this hard work has manifested and paid off. This Coachella slot, and even just playing at all, is ammunition to fight back against the imposter syndrome. It’s beyond my wildest dreams and expectations. I never expected any of this to get this far, and I was just trying to learn how to make cool sounds.”

Do you think about historical context, where you fit in in the history of electronic music and in Coachella’s history?

“Oh, man, I love that question so much, because it’s my No. 1 thing. When I first started, aside from wanting to learn and get good at it… my goal was to contribute to the culture and leave a mark that’s remembered, because I’m really passionate about the history of both dubstep and dance music. So many historic moments happened at Coachella. And it really is such an honor, because I just think of ‘Oh my God, dude.’ Like, Daft Punk, you know? I can’t even wrap my head around it, but it is the thing that matters most to me: being remembered years from now and doing things that really feel like they contributed to the culture.

I’m really hopeful to introduce bass music to a lot of new people, because I believe the rising tide raises all ships. There’s a lot of us dubstep and bass music makers. And I think anytime one of us gets an opportunity, it really kind of raises the ceiling for the whole scene, and we are all in it together… there’s so many talented producers that deserve to be able to make a living off of it. And the bigger the scene gets, the more people can fit under the umbrella, and pay their rent and live a successful life doing what they love.”

The highest-billed dubstep-rooted artist on this year’s festival lineup, Subtronics views his performances as a chance to introduce bass music to mainstream audiences.

(Jason Fenmore)

Have you been feeling any pressure? And if so, how have you been handling it?

“Yeah, definitely, because I think I feel pressure from multiple angles. I’ll feel pressure from the very core fan base to stick to a certain style. And then I’ll feel pressure as both a DJ and a music producer. And whenever I get these opportunities, they’re so far outside of, you know, the core of dubstep, I feel the opposite end of pressure where it’s like, you should read the room, be a DJ, you know, like, figure out what their energy is. So it’s kind of pulling me in two different directions, and my answer to that has been to have faith in my own taste — to ignore both of them, to just completely ignore everybody, and to trust what I like and have faith that my taste is what got me here in the first place.”

What is your overarching goal for these shows?

“I make a bunch of stuff, but I do mostly identify as a dubstep and bass music artist. So, to be able to represent that on such a gigantic platform to a whole ton of people who might not necessarily be 100% EDM festival attendees… to play for them is really exciting. And then the livestream as well, it’s like there’s a crazy amount of viewers who might be completely new to bass music or new to dubstep, you know, tuning in. I take it as a responsibility to introduce people to bass music and contextualize it in the best way I can. And also expressing myself as honestly and authentically as I can — having that moment of individuality and uniqueness.

What do you think mainstream audiences might not understand about dubstep?

“Something that I do think is interesting is the original wave of dubstep, the original U.K., 2004 through 2008, it was on the radio. It was melodic, it was musical. It wasn’t nearly as polarizing. Obviously, it got more aggressive and became more of a huge, showy, crazy, overstimulating thing as it, as it moved its way over to the States. But I seek to strike a middle ground. Something I experienced a lot when I first started touring was being in a sub-genre incorrectly labeled [as riddim].

The issue is that riddim is already a genre: dancehall. It already exists…I think that’s not a very well-known thing. It should have been called swamp or something like that…trench. A few names were being thrown around. I called it “wonky step” at the time because it was just really wonky and repetitive. I guess riddim is what stuck for whatever reason. I was playing for a group that was much more melodic, much more theatrical, and everyone who came up to me after the shows told me, ‘I don’t like riddim. I’ve never liked riddim before, but hearing it in your set…it makes sense to me now. So I hope to be almost like a translator. My goal is to express myself authentically and honestly, playing all original music in a way that makes sense to both groups of people [mainstream and insiders].”

Do you remember your very first performance as Subtronics? And is there something from that time you carry with you going into this weekend?

The first time I was ever actually on stage, like at a dance music venue with my name on the screen, like playing my own songs. I was opening at SoundGarden Hall, which is now known as the Ave. One of the things that early on that blew my mind the most, I was playing an after party in one of the worst neighborhoods in Philadelphia, one of the most dangerous places I’ve ever been to, maybe in my whole life, and I was standing by the front door where they’re dealing drugs and selling nitrous and some a stranger walks in the door, someone who I didn’t know, and I heard them say, ‘I heard Subtronics is playing tonight. Is that true?’ And it exploded my brain. It was the first time I had a fan that I didn’t know personally, and I will never forget that. I will never, ever, ever, ever forget as long as I live.”

General manager Pat Verbeek has agreed to a multiyear contract extension with the Ducks.

Mike Stapleton has also received a promotion to senior vice president and associate general manager, the Ducks announced Friday.

Verbeek took over the Ducks’ front office in February 2022, three months after Bob Murray resigned amid allegations of workplace misconduct. Verbeek has presided over the bulk of Anaheim’s lengthy rebuilding project while assembling much of the current team, which is finally on the brink of ending the franchise’s seven-year playoff drought.

Led by first-year coach Joel Quenneville, the Ducks (42-32-5) are currently in third place in the Pacific Division, but just one point out of first place with three games left in the regular season. The Ducks could clinch a playoff spot this weekend.

“Pat has done exactly as we hoped, having turned the Ducks into what we believe are perennial contenders for the next decade,” Ducks owners Henry and Susan Samueli said in a statement. “We are beyond excited to see the team continue developing into what is already an exciting, winning team ready to take the next step.”

After several years of high draft picks beginning before Verbeek’s tenure, the Ducks have assembled one of the NHL’s most enviable collections of young talent led by center Leo Carlsson, goal-scoring forward Cutter Gauthier, promising rookie Beckett Sennecke and U.S. Olympic defenseman Jackson LaCombe.

Verbeek’s trade with Philadelphia to acquire Gauthier in January 2024 has been widely praised, but his decision to ship center Trevor Zegras to the Flyers last summer has received criticism while Zegras thrives in Philadelphia. Verbeek also parted ways with Ducks mainstays Cam Fowler and John Gibson in recent years, clearing payroll room and playing time for the Ducks’ young talent.

Most recently, Verbeek swung a deadline deal for longtime Washington defenseman John Carlson, who has scored 12 points in 13 games during Anaheim’s playoff charge.

Last summer, Verbeek also persuaded Samueli to take the risk of hiring Quenneville, Verbeek’s former NHL teammate and a three-time Stanley Cup-winning coach who had been out of the league for nearly four years after being banned for his inaction in the Chicago Blackhawks’ sexual assault scandal in 2010. Quenneville has immediately turned the young team into a playoff contender, and he became the second coach in NHL history to win 1,000 games this season.

Verbeek became a front-office executive at Tampa Bay and Detroit after the conclusion of his 20-year playing career, which included two Stanley Cup championships.

Stapleton was the Ducks’ director of player personnel and assistant general manager under Verbeek following several years as an Anaheim scout. He played 14 NHL seasons.

Beacham writes for the Associated Press.

April 10 (UPI) — Search-and-rescue teams were scouring the wreckage of a collapsed Philadelphia parking garage on Thursday night for two people still missing, according to officials, who said the individuals were presumed dead.

The parking garage, under construction near 30th Street and Grays Ferry Avenue in South Philadelphia, collapsed at 2:19 p.m. EDT Wednesday, prompting emergency personnel to search the site for survivors.

One person was found and transported to Penn Presbyterian Medical Center where they were pronounced dead.

Philadelphia Mayor Cherelle Parker called on the public to pray for the three victims and their families.

“Right now, Philadelphia, it’s important for us to affirm together in a manner that’s fitting for each of us to send our prayers with the families who have been impacted, the family of the individual who has passed and also the families of the two people who are deceased,” she told reporters at a press conference, identifying all three as employees under the Ironworkers Local 401 union.

“We want you to know that we indeed grieve their loss tonight and we will continue to stand by, shoulder to shoulder, to support those families that have been directly impacted.”

Around the clock, officials have been working the site, and at 2 p.m. four search dogs were deployed into the downed structure and found no signs of life, she said.

Parker described that moment as “a pivotal point” in the incident. Officials now had the information necessary to shift the rescue operation to recovery.

“Our city agencies are reaching out and are in touch with the families of the deceased individual as well as the two lost souls who are, again, still unaccounted for but presumed deceased,” she said.

“Our city prays for them and with their families tonight.”

Officials were canvassing several blocks around the garage, notifying residents that on Friday, what remained of the structure would be demolished, she said.

Following the collapse, officials closed the immediate area to the public, including a shopping plaza and surrounding stores. No timeline has been given for their reopening.

Parker said the garage collapse remains under investigation.

“We are going to cross every ‘T,’ Philadelphia, and dot every ‘I’ until we get to the bottom of what happened here on Wednesday,” she said.

Managing Director Adam Teal for the City of Philadelphia told reporters that the structure remains “very unstable” and will be continuously monitored “until this incident is brought to a safe close.”

He explained that a large crane will be assembled over multiple hours to be used in the demolition of the structure, but only after the demolition plan receives final approval from various agencies.

“And here’s the most important thing: We, all of us, everybody you see here and all oof the hundreds of people working still now, we will not stop until everyone is returned to their loved ones with dignity, respect and honor,” he said.

“The same dignity and respect that we offer to our own fallen members.”

The Connecticut Sun have reached an agreement to sell the team to Rockets owner Tilman Fertitta for $300 million and will move to Houston in 2027, according to a person familiar with the deal.

The person spoke on condition of anonymity to The Associated Press on Friday because the deal hasn’t been announced publicly.

The WNBA Board of Governors still needs to approve the sale and the move. The team will play in Connecticut for the upcoming season before moving to Houston and becoming the Comets again.

This will end a 23-year run by the team in New England after the team moved to Connecticut from Orlando in 2003.

Houston was one of the groups that expressed interest in buying the team last year, eventually raising its bid to $250 million — the amount that Cleveland, Detroit and Philadelphia paid for expansion fees. Now with the $300 million sale price that’s the highest a team has been sold for in WNBA history.

The Sun had an offer for $325 million from a group led by Celtics minority owner Steve Pagliuca that would have moved the franchise to Boston. The WNBA basically blocked that deal from happening by saying that “relocation decisions are made by the WNBA Board of Governors and not by individual teams.”

The league also went on to say that other teams had gone through the expansion process and had priority over Boston.

WNBA Commissioner Cathy Engelbert said during a news conference to announce the three new expansion teams that Houston was up next.

Ever since Mark Davis bought the Las Vegas Aces in 2021, the league has added new owners that have some sort of NBA tie. Golden State, which came into the league last season, is owned by the Warriors. Portland and Toronto are coming into the WNBA this season and the ownership groups are connected to NBA teams.

The next three expansion teams — Cleveland, Detroit and Philadelphia — are all owned by NBA groups in those cities.

The WNBA just agreed to a new collective bargaining agreement last week where teams need to have top notch facilities similar to those of NBA franchises.

With the news of the deal on Friday, it allows the franchise to have clarity for potential free agents who could sign with the Sun next month.

The Houston Comets were one of the original franchises in the league that won the first four WNBA championships from 1997-2000. The franchise disbanded after the 2008 season.

The last WNBA team to move cities was the Las Vegas Aces, who relocated from San Antonio in 2017.

Feinberg writes for the Associated Press.

Noah Cates scored on a deflection off goalie Lukas Dostal’s skate at 2:17 of overtime and — after a review for offsides on the play — the Philadelphia Flyers beat the Ducks 3-2 on Wednesday night.

The Pacific Division-leading Ducks forced overtime on Leo Carlsson’s goal with 1:54 left in regulation.

Dan Vladar made 34 saves to help Philadelphia rebound from a 2-1 shootout loss to Columbus at home Saturday night. The Flyers are six points behind Boston and Detroit for the two Eastern Conference wild-card spots.

Luke Glendening had his first goal of the season and Owen Tippett also scored for Philadelphia. Trevor Zegras was held off the scoresheet in his first game in Anaheim since his offseason trade. He scored twice in Philadelphia’s 5-2 home victory over the Ducks on Jan. 6.

Cutter Gauthier also scored for the Ducks, and Dostal stopped 24 shots. The Ducks beat Montreal 4-3 on Sunday night to finish 2-2 on a Canadian swing.

Ducks defenseman Radko Gudas served the third game of a five-game suspension for kneeing Auston Matthews in a loss at Toronto on March 12. Matthews tore the medial collateral ligament in his left knee and will miss the rest of the season.

Defenseman John Carlson played his second straight game for the Ducks after a trade-deadline deal with Washington. His debut was delayed by a lower-body injury.

Glendening opened the scoring at 2:50 of the first period, his first goal in 57 games this season with New Jersey and Philadelphia. Tippett made it 2-0 at 7:53 of second with his 23rd of the season. Gauthier cut it to 2-1 on a power play with 38 seconds left in second with his 35th goal of the season.

Philadelphia’s Nick Seeler fought Jansen Harkins in the third period.

UCLA coach Mick Cronin expects his team to embrace lofty expectations that follow the Bruins any time they take the floor during the NCAA tournament.

The program has won an NCAA record 11 national titles and made 19 Final Four appearances.

No. 7-seed UCLA’s (22-11) push for another deep NCAA tournament run begins Friday against No. 10-seed Central Florida (21-11) in Philadelphia in the East Regional. If the Bruins win, they will face the winner of No. 2 Connecticut (29-5) versus No. 15 Furman (22-12).

Cronin was hoping the Bruins, who flew home from the Big Ten tournament in Chicago on Sunday morning, would get a break and open postseason play Friday rather than Thursday. He recalled playing in the American Athletic Conference tournament championship on Sundays and still getting assigned Thursday NCAA tournament games, but Purdue coach Matt Painter told Cronin on Saturday night that he should be in line for a Friday NCAA tournament opener and the forecast proved accurate.

Cronin said the universal UCLA program focus on NCAA tournament success drove his decision to hold forward Tyler Bilodeau and guard Donovan Dent out of a 73-66 Big Ten semifinal loss to Purdue on Saturday night at the United Center. Bilodeau’s injury was a minor knee sprain suffered in the win over Michigan State on Friday, while Dent suffered a minor calf strain early in the game against the Boilermakers. Both are expected to be ready to play Friday.

“Tyler could have played [against Purdue.] You know, Donny could have played. They would have been playing hurt,” Cronin said after the loss to the Boilermakers. “I wouldn’t have played them in a regular season game. I just try to take care of guys.”

The coach said the extra minutes played by Eric Freeny, Xavier Booker, Steven Jamerson II and Brandon Williams will help the Bruins when the full lineup is in place for NCAA tournament games.

He called the team’s effort to push eventual Big Ten champion Purdue valiant, but the games ahead in March simply mean more to the Bruins.

“With all due respect to the Big Ten, you could see how hard our guys are trying to win,” Cronin said. “But our guy are well aware, because they practice under 11 banners that say national championship every day. They warm up under another banner with 19 Final Fours on it. We don’t even have one with conference championships cause there’s 36 or something. There’s so many. So [this] week is what it’s about for us.”

UCLA enters the tournament on a 4-1 streak, looking especially strong since the calendar hit March.

“I was happy with the way we competed,” Cronin said when asked whether he learned anything about his players during a spirited Big Ten tournament run. “… We got talent, we just haven’t always had our mind on defense, which is very rare for teams that I coach. We got great guys. Since March 1 or whenever the heck we played Nebraska, it’s been a noted change in our team, we’ve just got to keep it up. And we’ve got to get some rebounds out of the five spot.

”… We’re at UCLA, no matter who we take the floor against in the NCAA tournament, we’re going to be the ones wearing the baby blues and four letters. So we believe in ourselves.”

UCF is coached by former Duke star Johnny Dawkins. Point guard Themus Fulks is a key leader for the Knights, earning third team All-Big 12 honors after averaging 14.1 points and 6.7 assists per contest during the regular season.

UCF posted top-25 wins over Kansas, Texas Tech and Brigham Young.