Whats Your Fav Day6 Album/EP
are you a true my day? 🌙💙 ever wondered which **DAY6** album matches your vibe the most? whether you're all about the emotional depth of *Moonrise*, the energy of *Shoot Me*, or the nostalgic feels of *The Book of Us*, this quiz will help you find your perfect match! 🎶✨ take the quiz and discover which **DAY6** album represents your music taste best! 🎸🥁
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Forbes
19-04-2025
- Forbes
Concert Review: DAY6 Brings The Magic To YouTube Theater In LA
DAY6 / Los Angeles Madeleine Gee Last year, the Korean pop-rock band DAY6 played at the Incheon Pentaport Rock Festival. I was set to attend the performance, but unfortunately, I had to cancel due to unforeseen circumstances. I've only heard of DAY6 by name and some songs that popped up in my random K-Mix Spotify playlist, but I never sought them out further, eventually forgetting about them. I wasn't even aware they were coming to Los Angeles for two nights as part of their 3rd World Tour: Forever Young until friends mentioned they were attending. After hearing praise of Night 1, I recalled the missed opportunity in Incheon and considered attending the second show. But it wasn't until I had last-minute coffee with a friend visiting from Korea when she mentioned she was a 'My Day,' the fandom name for the group, that we decided to go that night. It was as if fate had intervened, determined for me to watch this band. I was reminded of this as I entered the venue and saw the mini-banners created by the fanbase, with DAY6's company approval, that read in both Korean and English: 'DAY6 and My Day found each other, not by chance but through fate.' The lights from the group's official light band illuminated the dark room, with eager fans waiting for the show to begin. Many have waited nearly six years for the quartet to return to Los Angeles since their last World Tour in 2019. The excitement filled the room as the spotlight focused on the stage, which featured a complete drum set, several amplifiers, microphones, a keyboard, and a synthesizer. Each member – Dowoon (drums/percussion), Wonpil (keyboards/synthesizers), Young K (bass), and Sungjin (guitars) – walked on stage to their designated place, and, without a word, began to play their first song: 'Best Part.' I hadn't planned on writing a review, but I felt compelled to take notes and document my thoughts throughout the concert as they began to play. I didn't know the lyrics or the background behind each song, but I wrote about how it made me feel, in hopes that it would connect with my post-concert research – and it did. Within the first chord, the audience became transfixed by the group's strong instrumentals and powerful vocals. The catchy beats and inspiring lyrics drew the crowd in, evoking a sense of joy and hope as if you're entering this therapeutic retreat. The songs that followed in this set were 'Better Better,' 'Healer,' and 'Time of Our Life,' which generated a feeling of optimism and assurance. DAY6 / Los Angeles Madeleine Gee The graphics that played on the big screen to accompany the song only elevated the emotion from the performance, providing a visual guide to the concert's musical journey. Several explosions of confetti and streamers provided a sense of celebration. The group then introduced themselves, with Young K taking charge of the stage, as he was the most proficient in English, having grown up in Canada. Rather than speak on behalf of the group, Young K asked his bandmates questions to stimulate conversation, allowing each to have a say. With their limited English, Dowoon and Wonpil did their best to communicate their feelings, which came off as sweet and endearing. The next section of songs consisted of confessional love songs with 'She Smiled,' 'How To Love,' 'Pouring,' and 'Say Wow.' The best way to describe this set was the feeling of being in church with an inspiring sermon that connects you to a higher power. During 'How to Love,' the audience sang the chorus as if they were answering the question from the song: 'Yes, I'm ready [to love] During another moment to speak to their fans, Wonpil offered some memorable advice: 'Yesterday is history. Tomorrow is [a] mystery. Tonight is a gift of joy.' Sunjin added, 'Tonight is victory.' They began to banter, showcasing their humor and ease with each other. Young K then prepared the crowd for the next section, filled with songs of heartbreak and remorse. For every journey of self-reflection, there is a moment when we must confront our demons and the despair. Their songs, 'You Were Beautiful,' 'I Loved You,' 'Letting Go,' and 'Congratulations,' gave a moment for audiences just to feel sad – and that's okay. DAY6 / Los Angeles Madeleine Gee The group rarely took any breaks between their sections, but finally had a moment of rest, in a sing-along with the audience, playing snippets of songs: 'I Like You,' 'Only,' 'I'm Serious,' and 'Sweet Chaos.' They returned to the basics of rock in their next set: 'How Can I Say,' 'I Wait,' 'Love Me Or Leave Me,' and 'Shoot Me.' The beats from the drums and bass guitar echoed through the room, causing vibrations in the seats and floor. As I reached out to hold the railing in front of me, I felt the vibrations from the guitar riffs, causing me to grip it as if I were bracing for impact. The baby-faced drummer, who was bashful during the speeches, suddenly became possessed, filled with intensity and rage, showcasing his remarkable skill. The energy consistently stayed high throughout this section as if I were at a rock festival like Coachella. Rather than go to the desert, DAY6 brought it to us. Each band member had a moment to showcase their instrumental skills with solo beats before moving on to the next section of songs, which centered around loneliness and isolation, ultimately leading to finding happiness. Dowoon told the audience, 'The next stage is a little down position songs. [Are] you guys lonely [sometimes]? We prepared these stages with hopes to encourage and comfort everyone when they're feeling lonely. We [want to] touch your hearts. You are not alone.' They begin with 'Monster' and then 'Zombie,' setting the forlorn mood, as if the group were singing to our souls. In 'Monster,' the three singers sync their vocals to create a powerful, magnetic sound, as if they have combined to form a beautiful creature. For 'Zombie,' the English lyrics reflected on the screen as the Korean version was sung, providing clarity on its significance. Although, the visual aids were not necessary to feel the impact of this song. They continued with 'Melt Down,' an upbeat song about surviving hardships and emerging stronger from them, symbolizing the thawing from being frozen. Before the song, the screen had a message for the crowd: 'Sometimes when we feel like we're lost, the words that you will stay by our side brings us back to our feet. To all of you who brought us miracles, we hope our song will melt you down warmly.' 'Happy' and 'Wish' followed to finish the set, prompting a renewed sense of purpose filled with hope. DAY6 / Los Angeles Lexi Wilder The final section, preceding the encore, was focused on celebration as the audience had finally completed this emotional musical journey with DAY6. 'Help Me Rock&Roll,' 'Shxtty Game,' 'Dance Dance,' and 'Freely' brought positive, fun energy to the fans, who were on their feet dancing along with the band. At the end of the song, the crowd sang the Korean lyrics in unison, which left me stunned to see people of all races participating as the group exited the stage. To pass the time until the encore, the screens displayed snippets of songs for the crowd to sing along. It was about 10-15 minutes before the group returned on stage to perform their last section of appreciation with 'My Day,' a love song dedicated to the fans. They then sang 'First Time,' which expresses an emotional goodbye to someone important – in this case, to the 'My Day.' For this show, 'My Day' and DAY6's company presented the band with a surprise video of thanks, which showed the members how much they mean to the fandom. The group expressed their gratitude in their final speeches, each telling the audience that they would return soon. They initially concluded with 'Welcome to the Show,' with Young K telling the adoring crowd that it didn't have to be the last song if the audience proved to the band they wanted more. This prompted the theater goers to stand and dance, singing their hearts out. It was awe-inspiring to witness 'My Day' continue to sing the chorus a cappella after the song had finished. It worked as DAY6 played one final song as an award to the fans for their passionate energy. Of course, like many spiritual journeys, the purpose of self-reflection and discovery is about going full circle. DAY6 did just that by playing the opening song, 'Best Part,' again – as if they were bringing you back out of this fascinating world they sucked you in hours before. DAY6 / Los Angeles Madeleine Gee The group had a concert the evening prior, which would put a strain on their voices, as their songs are intense and require immense vocal control. There were very slight moments of pitchiness, which were quickly remedied. However, it did not detract from the song, music, and the delightful sensations it created. I expected DAY6's euphoric performance to be entertaining, but I didn't expect it to be so healing. Maybe it was fate that I found DAY6, and I'm better for it.
Yahoo
19-02-2025
- Yahoo
G. Ray Hawkins, gallerist who championed photography as fine art, dies at 80
When G. Ray Hawkins opened the first public gallery in Los Angeles devoted to photography in 1975, the financial rewards were unremarkable. Even names that defined fine art photography drew humble prices. Ansel Adams' famous nighttime landscape 'Moonrise, Hernandez, New Mexico' typically sold for about $600 then, and that was at the higher end of the scale. 'I remember when we sold a Cartier-Bresson for $350 — it was a big celebration,' recalls David Fahey, who worked with Hawkins for a decade before creating his own Fahey/Klein Gallery in 1986. 'It was a big deal.' Soon after that, the G. Ray Hawkins Gallery, located then on fashionable Melrose Avenue, sold another print of 'Moonrise' for $1,000. Just a few years later, Hawkins sold an Adams mural for $81,000, a record at the time, says Fahey. 'People really made fun of the whole idea of a photograph selling for as much as a thousand dollars, and it was like a joke,' Fahey adds. 'It's hard to believe, but not that long ago people just did not accept fine photography as an art form.' One reason photography is widely valued by collectors and galleries today is from the early efforts of Hawkins, who died Dec. 11 at age 80 from an undisclosed illness. When he began, a market for art photography was already developing on the East Coast, with museum shows and auction houses dealing in pictures by the mid-1970s. And although there was meaningful gallery activity in San Francisco, there was no public venue for photography in Los Angeles prior to Hawkins. 'I realized a whole new field was taking shape nobody knew anything about,' Hawkins told The Times in 1995. 'At that point, there were maybe 25 dealers in the country who handled photography, but they only did it as a sideline. Here was something nobody had done before.' At a startup cost of about $40,000, Hawkins opened the gallery with his first wife and co-founder, Randee Klein (later a partner at Fahey/Klein). His first photo exhibition was from Man Ray, the acclaimed surrealist and Dadaist who moved easily across a variety of mediums. 'We opened with Man Ray because people resisted taking photography seriously as art then, so we needed an opening exhibition nobody could dismiss,' Hawkins explained to The Times. 'Our second show was Edward Curtis, the third was James Van Der Zee, and in six months we were out of the red.' Read more: Picture an Innovator : G. Ray Hawkins Has Run His Photo Gallery for 20 Years; Now He's Set Up a Celebratory Show Spotlighting Some Memorable Images Hawkins secured his most significant acquisition in 1976, when he discovered a previously thought destroyed cache of photographs and glass negatives for color images created by Paul Outerbridge. Hawkins purchased the collection, including copyrights, from Outerbridge's widow, Lois. And the gallery regularly hosted work by many of the leading creators of the form: Richard Avedon, Francesco Scavullo, Helmut Newton, Robert Mapplethorpe, Irving Penn, Herb Ritts, Edward Steichen, Annie Leibovitz, W. Eugene Smith and Walker Evans. Even major names like Avedon and Penn, who had previously shown on the East Coast, had never before had a Los Angeles exhibition before Hawkins hosted them. 'It got the community going,' says photographer Jo Ann Callis, who enjoyed an early exhibition at the Hawkins Gallery in 1978, and is now in collections at the Museum of Modern Art in New York and the L.A. County Museum of Art. She was also deeply inspired by the Outerbridge works she saw there for the first time. 'G. Ray liked a lot of different things, and I think he had a sense of what he could sell. … He had an energy for trying to make things happen, stirring up some interest. He deserves a lot of credit for that.' Greg Gorman, whose photography was featured in multiple shows at the gallery, stresses its vital role in the local arts scene. 'For all of us, it was a place to have an exhibition in your hometown in a prestigious gallery, which was very important,' he says. 'It certainly added to our credibility as artists.' The bigger names typically drew overflow crowds, as Hawkins, tall and bearded, presided over the openings. On Melrose, where Hawkins' gallery was for a time across the street from the studio of photographer Max Yavno, the gallery owner also had a surprising gift for auctioning artwork, says collector Manfred Heiting, recalling a simpler time of acquiring photography. 'When we collected, we just needed our passion and our weekly money. Today, when you want to buy a photograph, you need an expert to advise you. And you need a lawyer and a banker,' Heiting says with a laugh. You would not get all the information about respective photos that you typically would today: "What is the provenance, how many of it was made? No, it was just you bought a print for $300.' Susan Hawkins, the gallery owner's second wife, adds, 'G. Ray loved collectors as much as he loved artists, and he loved helping to build collections. He just loved the medium, and it was all about joy.' By 1990, Hawkins had moved the gallery to Colorado Boulevard in Santa Monica. The gallery was also a place to showcase the evolution of the medium, as when collector and photographer Graham Nash — best known as a rock musician with Crosby, Stills & Nash — introduced a then-new process of digitally scanned images on inkjet prints under his Nash Editions banner in 1991. Looking back, Nash said in an email that he remembered Hawkins 'as having a 'good eye' for images and had a good sense of humor.' The G. Ray Hawkins Gallery had lasting impact in other ways, acting as a launchpad for several future gallerists, curators and photographers. Aside from Fahey, others who worked at the Hawkins gallery included Jan Kesner, later an L.A. photography dealer and gallery owner; and the accomplished editorial and gallery photographer Lauren Greenfield, who was once an intern. Read more: Graham Nash Photographs Sale Sets Record : Art: More than 400 pictures and albums sell for $2.4 million. The musician has said he will give some of the profit to an L.A. museum. Born George Ray Hawkins in Hammond, Ind., on June 7, 1944, Hawkins joined the Navy after high school and was sent to photography training in Pensacola, Fla., and became an aerial photographer and newsreel cameraman. After his tour of duty, Hawkins worked his way down the West Coast with his older brother, Jerry, stopping for a time in Haight-Ashbury, playing guitar on the corner and selling collectibles. Hawkins then came to L.A. in 1967, and studied at Santa Monica City College before transferring to the UCLA film department, where he studied directing. While at UCLA, Hawkins took a photography course taught by artist-photographer Robert Heinecken. Hawkins initially opened the gallery to fund his planned feature-length thesis film project but got hooked on the life of a gallery owner and spreading his love for the medium. After his first marriage ended in divorce, he married Susan Ginsberg Glina in 1985. After Hawkins closed his gallery in 2005, he continued as a private dealer, while cutting back on the hours he worked. But his life took a startling turn when he pleaded guilty to federal tax crimes and served eight months of a yearlong sentence. He was also ordered to pay $35,042 in restitution to the IRS. After prison, Hawkins returned to his home in Beverly Hills, and continued work as a private dealer, as his wife slowly took over the public side of that business. 'He was excited about photography to the last minute,' Susan Hawkins says. 'As one shrink told him, 'Your OCD is hoarding, but the good news is you hoard things that are valuable.'' Married twice, Hawkins had no children. His survivors include his wife and a younger sister, Jt. Hawkins. Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times.
Los Angeles Times
18-02-2025
- Los Angeles Times
G. Ray Hawkins, gallerist who championed photography as fine art, dies at 80
When G. Ray Hawkins opened the first public gallery in Los Angeles devoted to photography in 1975, the financial rewards were unremarkable. Even names that defined fine art photography drew humble prices. Ansel Adams' famous nighttime landscape 'Moonrise, Hernandez, New Mexico' typically sold for about $600 then, and that was at the higher end of the scale. 'I remember when we sold a Cartier-Bresson for $350 — it was a big celebration,' recalls David Fahey, who worked with Hawkins for a decade before creating his own Fahey/Klein Gallery in 1986. 'It was a big deal.' Soon after that, the G. Ray Hawkins Gallery, located then on fashionable Melrose Avenue, sold another print of 'Moonrise' for $1,000. Just a few years later, Hawkins sold an Adams mural for $81,000, a record at the time, says Fahey. 'People really made fun of the whole idea of a photograph selling for as much as a thousand dollars, and it was like a joke,' Fahey adds. 'It's hard to believe, but not that long ago people just did not accept fine photography as an art form.' One reason photography is widely valued by collectors and galleries today is from the early efforts of Hawkins, who died Dec. 11 at age 80 from an undisclosed illness. When he began, a market for art photography was already developing on the East Coast, with museum shows and auction houses dealing in pictures by the mid-1970s. And although there was meaningful gallery activity in San Francisco, there was no public venue for photography in Los Angeles prior to Hawkins. 'I realized a whole new field was taking shape nobody knew anything about,' Hawkins told The Times in 1995. 'At that point, there were maybe 25 dealers in the country who handled photography, but they only did it as a sideline. Here was something nobody had done before.' At a startup cost of about $40,000, Hawkins opened the gallery with his first wife and co-founder, Randee Klein (later a partner at Fahey/Klein). His first photo exhibition was from Man Ray, the acclaimed surrealist and Dadaist who moved easily across a variety of mediums. 'We opened with Man Ray because people resisted taking photography seriously as art then, so we needed an opening exhibition nobody could dismiss,' Hawkins explained to The Times. 'Our second show was Edward Curtis, the third was James Van Der Zee, and in six months we were out of the red.' Hawkins secured his most significant acquisition in 1976, when he discovered a previously thought destroyed cache of photographs and glass negatives for color images created by Paul Outerbridge. Hawkins purchased the collection, including copyrights, from Outerbridge's widow, Lois. And the gallery regularly hosted work by many of the leading creators of the form: Richard Avedon, Francesco Scavullo, Helmut Newton, Robert Mapplethorpe, Irving Penn, Herb Ritts, Edward Steichen, Annie Leibovitz, W. Eugene Smith and Walker Evans. Even major names like Avedon and Penn, who had previously shown on the East Coast, had never before had a Los Angeles exhibition before Hawkins hosted them. 'It got the community going,' says photographer Jo Ann Callis, who enjoyed an early exhibition at the Hawkins Gallery in 1978, and is now in collections at the Museum of Modern Art in New York and the L.A. County Museum of Art. She was also deeply inspired by the Outerbridge works she saw there for the first time. 'G. Ray liked a lot of different things, and I think he had a sense of what he could sell. … He had an energy for trying to make things happen, stirring up some interest. He deserves a lot of credit for that.' Greg Gorman, whose photography was featured in multiple shows at the gallery, stresses its vital role in the local arts scene. 'For all of us, it was a place to have an exhibition in your hometown in a prestigious gallery, which was very important,' he says. 'It certainly added to our credibility as artists.' The bigger names typically drew overflow crowds, as Hawkins, tall and bearded, presided over the openings. On Melrose, where Hawkins' gallery was for a time across the street from the studio of photographer Max Yavno, the gallery owner also had a surprising gift for auctioning artwork, says collector Manfred Heiting, recalling a simpler time of acquiring photography. 'When we collected, we just needed our passion and our weekly money. Today, when you want to buy a photograph, you need an expert to advise you. And you need a lawyer and a banker,' Heiting says with a laugh. You would not get all the information about respective photos that you typically would today: 'What is the provenance, how many of it was made? No, it was just you bought a print for $300.' Susan Hawkins, the gallery owner's second wife, adds, 'G. Ray loved collectors as much as he loved artists, and he loved helping to build collections. He just loved the medium, and it was all about joy.' By 1990, Hawkins had moved the gallery to Colorado Boulevard in Santa Monica. The gallery was also a place to showcase the evolution of the medium, as when collector and photographer Graham Nash — best known as a rock musician with Crosby, Stills & Nash — introduced a then-new process of digitally scanned images on inkjet prints under his Nash Editions banner in 1991. Looking back, Nash said in an email that he remembered Hawkins 'as having a 'good eye' for images and had a good sense of humor.' The G. Ray Hawkins Gallery had lasting impact in other ways, acting as a launchpad for several future gallerists, curators and photographers. Aside from Fahey, others who worked at the Hawkins gallery included Jan Kesner, later an L.A. photography dealer and gallery owner; and the accomplished editorial and gallery photographer Lauren Greenfield, who was once an intern. Born George Ray Hawkins in Hammond, Ind., on June 7, 1944, Hawkins joined the Navy after high school and was sent to photography training in Pensacola, Fla., and became an aerial photographer and newsreel cameraman. After his tour of duty, Hawkins worked his way down the West Coast with his older brother, Jerry, stopping for a time in Haight-Ashbury, playing guitar on the corner and selling collectibles. Hawkins then came to L.A. in 1967, and studied at Santa Monica City College before transferring to the UCLA film department, where he studied directing. While at UCLA, Hawkins took a photography course taught by artist-photographer Robert Heinecken. Hawkins initially opened the gallery to fund his planned feature-length thesis film project but got hooked on the life of a gallery owner and spreading his love for the medium. After his first marriage ended in divorce, he married Susan Ginsberg Glina in 1985. After Hawkins closed his gallery in 2005, he continued as a private dealer, while cutting back on the hours he worked. But his life took a startling turn when he pleaded guilty to federal tax crimes and served eight months of a yearlong sentence. He was also ordered to pay $35,042 in restitution to the IRS. After prison, Hawkins returned to his home in Beverly Hills, and continued work as a private dealer, as his wife slowly took over the public side of that business. 'He was excited about photography to the last minute,' Susan Hawkins says. 'As one shrink told him, 'Your OCD is hoarding, but the good news is you hoard things that are valuable.'' Married twice, Hawkins had no children. His survivors include his wife and a younger sister, Jt. Hawkins.
