Leader Interview: Brandon Steppe, Recipient of the Lewis Prize

In January, The Lewis Prize for Music — a newly established philanthropy that’s ambitiously investing in music leaders to facilitate positive change and increase access to music education — announced its inaugural class of awardees. A total of nearly $2 million is being awarded to leaders of music programs and organizations across the country.

We had the opportunity to connect with Brandon Steppe, who received one of the inaugural awards to chat about his work as an artist, educator, and community leader.

In 2006, Brandon left a corporate job and returned to Southeastern San Diego to pursue a career in music production. He founded the David’s Harp Foundation, a creative youth development organization that uses music production and media creation to earn mentoring relationships with young people.

Creative Generation: How do you describe the work that you do?

Brandon Steppe: Youth affected by homelessness, incarceration, and those in the foster care system are often experiencing academic and behavioral health issues, lack of consistent mentorship and the sense of community and support which everyone needs. At The David’s Harp Foundation (DHF) believe that these young people have immense potential for success but are often not afforded the opportunity to thrive. the  takes an innovative approach to an age-old problem by welcoming these youth into its state-of-the-art recording studio where a team of Artist Mentors (Instructors) provide a safe, creative space where they are supported by a loving community and life-changing mentorship that helps them transform daunting struggles into original music and videos.

CG: What is your origin story? How did you get to do this type of work?

BS: In 2006, I left a corporate job to build a professional recording studio inside of my father’s  garage in my native Southeast San Diego neighborhood. Not long after, a 16-year-old high school sophomore named Rayvon, learned about the studio and asked me if I could teach him to make music. I initially told Rayvon I did not have time to teach him, but he persisted, and I reluctantly set aside my work to give him an hour recording session

10 minutes into our studio session, I saw just how powerful the platform of electronic music production is. I discovered that Rayvon was contemplating joining the, “Emerald Hills Bloods” street gang. As he learned how to produce Hip-Hop accompaniment (“Beats”), Rayvon dropped his tough façade. The struggles of the day seemed to melt away for him. The recording studio became his safe space. 

The word spread quickly and soon, there were 10 young people packed into my studio after school. When I found out the youth were skipping school, but consistently attending their studio sessions, I began making them “pay” for studio time with their improved grades. As a result, a young man named Auston improved his grade point average from a 1.4, to a 3.4 in just 12-weeks. I learned if they were given an incentive to succeed academically, young people could achieve more than they ever imagined--and for these youth, the studio was that incentive. 

CG: What was the most significant change you have seen in the work that you do?

BS: After 13 years of earning mentoring relationships with youth using music production as a platform, the greatest change that I have noticed in the work is how role of young people has grown.  When I began this work, I was 26 years old and a young adult myself. As the organization has progressed, young people are now not just the focus of the work but have become partners and thought leaders. We are now working side-by-side in constant conversation about what is best for our community. Youth voice is honored from the Board/staff meetings to the recording studios.

CG: How do you think your work, and its ripple effect, is changing your community and the world?

BS: This idea of earning authentic mentoring relationships with, "Opportunity Youth" though Hip-Hop music production was not mine, nor does it belong to me. DHF’s programming is the product of our Studio Community’s dedication to true inclusion and the authentic relationships between creative, passionate youth who openly share their artistic dreams and, the talented, concerned adults that help to channel that creativity into effective programming and opportunity. These relationships ARE the ripple effect. We have witnessed dramatic transformation as a result of mentoring relationship forged in music. Youth on probation, like "Jeremiah" who was violating the terms of his probation regularly, join our community and become leaders in the studio and in their foster group homes. 

We are currently applying this, "Big Idea" to transform the Juvenile Justice system from the inside at East Mesa Juvenile Detention Center, while simultaneously creating a music-centered alternative to incarceration, in partnership with the Probation Department and South Bay Community Center.

CG: How can investment, like The Lewis Prize, help the field working at the intersection of arts/culture, education, and social change?

BS: The intentionality and thoughtfulness that The Lewis Prize brings to philanthropy has the potential to help the field flourish. The practice of including the broader community and centering youth voice in the application process is a model for funders concerned about equity and inclusion. In addition, the way the ability to apply funding to general operating expense allows us as an organization to build vital capacity.   

CG: What advice do you have for other changemakers around the world?

BS: I believe that great change occurs when changemakers are driven to serve those in their community by first listening, and then including people in all aspects of the process. There are huge problems in this world but, together we can make a difference.  I have been told that the way to eat an elephant is by taking one bite at a time, but I disagree.  My advice to change makers around the world who are tasked with eating an elephant is, throw a barbeque and invite everyone to the table!