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DJ Yasmina has rocked the stage across the US and internationally

ROLLINGOUT.COM — Rolling out’s Master DJ series spotlights DJs recognized in their respective cities who are making an impact in their communities. Australian-born Yasmina Angele — known professionally as DJ Yasmina — came to the United States a few years ago to pursue her music career. Rolling out recently caught up with DJ Yasmina to learn more about how she got started and how far music has taken her around the world.

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By Rachal Leaphart

Rolling out’s Master DJ series spotlights DJs recognized in their respective cities who are making an impact in their communities. Australian-born Yasmina Angele — known professionally as DJ Yasmina — came to the United States a few years ago to pursue her music career. Rolling out recently caught up with DJ Yasmina to learn more about how she got started and how far music has taken her around the world.

When did you start DJing?
The tables turned fast from singing to spinning vinyl on Technics after I was sick from throat surgery and I couldn’t sing. After that, I fell in love with turntablism, I invested in my own [equipment] and started studying my craft daily. I was on YouTube and caught a video of DJ Craze in a DMC competition. The rest is history.

What or who were your early passions and influences?
My earliest DJ influences when I started to learn about hip-hop were most of the New York and Atlanta DJs, such as DJ Clue and DJ Drama. The DJs that have influenced and inspired my career are DJ Craze, DJ Snake and Miles Medina.

How would you define your style of DJing?
Energy and vibes. I play whatever the mood is for the day. Just dope.

What’s your process for selecting a song to play during your sets or at a gig?
I don’t prepare too much. I make sure I’m up to date on my music by freestyling my sets so they stay fresh.

What music or genre do you usually start with when preparing for a set?
Whatever the vibe is for the gig. I love high energy to start off with, though, or some Afro vibes.

Please provide 10 songs that should be in everyone’s playlist.
“Sensei,” ZieZie
“Bank,” Collie Buddz ft Russ and B Young
“Freaky,” Tory Lanez
“Grinding All My Life / Stucc In The Grind,” Nipsey Hussle
“Babysitter,” DaBaby ft. Offset
“Surf,” King Combs ft. City Girls, AZChike and Tee Grizzley
“Uptown Vibes,” Meek Mill ft. Fabolous
“Tip Toes,” Saweetie ft. Quavo
“Tempo,” Lizzo ft. Missy Elliott
“Your Peace,” Jacquees ft. Lil Baby

How far has music taken you around the world?
So far, music has taken me places further than I can imagine for the past three years. I have DJ’ed celebrity private parties, nightclubs around the USA and internationally and hosted numerous events. But it is more so the incredible people that I get to meet on a daily basis.

Name three musicians who you believe changed the world.
Michael Jackson, Bob Marley and Alicia Keys. All three of them have or are impacting the world in so many ways through their music and charity.

Who are your three favorite producers of music? Why?
Pharrell, Timbaland and Kanye West because they are visionaries far beyond their years.

This article originally appeared in the Rollingout.com.

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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