Senator Bret Boog

Gotta' Live 2011

2011-05-19T09:17:00.000-07:00

Transistor Fist's "Mass Hysteria" used in POLISH SHORT FILM

2011-04-06T04:52:00.000-07:00

Tra

The Boogie

2011-02-17T06:09:00.000-08:00

GET LIT: Can't Stop Won't Stop

2011-01-28T06:32:00.001-08:00

Can’t Stop Won’t Stop
Jeff Chang, 2005

Veteran rap writer Jeff Chang has crafted the definitive book about the hip-hop generation. This is the most intricate study about the rise of hip-hop and how it has altered public thought and practice. Chang’s overwhelming research of regional and international issues illustrates why South Bronx youngsters created the four elements that created a global phenomenon.

He traces the borough’s neglect back to poor urban planning, which drove away middle class whites and created minority housing. City planners wrought havoc on the Bronx, splitting it with roadways and leaving buildings to rot and burn. When you don’t have much, you make the most of what you have. You create.

Chang’s retelling of hip-hop’s infancy offers the book’s illest passages. Utilizing the memories of originators like Kool Herc, Bambaataa, Flash, Crazy Legs, Charlie Ahearn, Fab 5 Freddy and dozens others, he recreates the atmosphere on the page. After setting the scene by tracing ghetto creationism, he moves to Jamaican street music’s role in the sound system and record craft. He then delves into the New York gang traditions that spawned the tag and the up-rock, which morphed into a unified hip-hop style.
Chang’s omission of clothing styles, lingo and trends leaves room for discussion of the socio-political issues that revolve around the self-creation, and later exploitation, of the culture.

The light prose describing the park jams disappears as hip-hop gets discovered by Manhattan culture vultures, record executives and the mainstream media. Chang’s writing becomes stoic and urgent when he gets to Ice T’s “Cop Killer” situation, Rodney King and the riots and 2 Live Crew’s bout with the First Amendment. His telling of rap’s entrance into the mainstream is nostalgic, but also revealing about black art in America. Chang proves this in his unbiased telling of breakdancing’s appearances in film and television, graffiti’s gallery trade explosion and the record label engineering of rap stars.

The book loses some steam in the end, as it focuses on contemporary youth activism. While interesting, he does not draw the proper comparisons between hip-hop and the motivation for America’s youth to be socially conscious. After all, a lot of kids are buying the records Kool Herc seems to hate. -Bret Duchen

ILLA DAY!

2010-12-20T07:56:00.000-08:00

Peep the flyer for a good time.

GOOD WAX

2010-12-08T05:13:00.000-08:00

DJ King Otto on record collecting. from Manos de Mono on Vimeo.

Seriously, The Cold Crush Brothers...

2010-11-09T13:48:00.000-08:00

I'm tremendously excited about this show. I jumped at the opportunity to design the flyer and was honored to be invited to play drums at this historic event. The homey Methuzulah is always on the grind and came up with a real banger this time. If you run in the ATL undergound you already know this. The Cold Crush Brothers are legends. They're among the handful of people that actually created hip-hop. They helped form the style, attributes, conventions, etc. They got yanked by the music industry in rap's infancy, but mainted an incredible amount of credibility. Atlanta's indy rap stars will also be appearing so make sure you're there to celebrate Hip-Hop History Month.

ATL HIP-HOP FRIDAY!

2010-10-21T07:14:00.001-07:00

THE ROCK BOX AT THEBLUE FROG IN EAST ATLANTA VILAGE

FEATURING

G.R.E.A.T. SCOTT

TRANSISTOR FIST

TOMMY BOTTOMS

ACE RON THE MC GODFATHER

HOSTED BY METHUZULAH

DJS BLACK SNO, SIZZAHANDS, BLACK MOSESAND PP ARMSTRONG

THE BLUE FROG CANTINA: 469 Flat Shoals Ave. - East Atl. Village

CONTROL IS NOW AVAILABLE

2010-08-30T19:48:00.000-07:00

My new album is now available for FREE for a limited time as a hard copy CD and full digital download.

DOWNLOAD AT
http://www.iexistonline.com/
or
http://www.transistorfist.bandcamp.com/

This is an early heads up. More info to follow.

GET LIT: Hip-Hop and Philosophy

2010-08-16T05:11:00.000-07:00

Hip Hop and Philosophy (Rhyme 2 Reason)
Edited by Derrick Darby and Tommie Shelby, 2005

This loose philosophy collection illustrates how hip-hop has wholly influenced American culture. Authors, screenwriters and visual artists have created a multitude of works the last few years from an unyielding hip-hop perspective. This book shows its impact on academia.

Blossoming from hip-hop’s Golden Era, “Hip Hop and Philosophy” shows the impact that artists like KRS-ONE and Chuck D had on a generation of today’s educators and thinkers. The affected use the empowerment handed to them by the culture’s forbearers to influence public policy, ethics, law and thought.

The book compiles 17 essays by the country’s top young philosophy professors. The writers have written key works on race, human rights and philosophy, but here they focus on how hip-hop relates to ancient ideas and philosophical constructs.

Major works like this show how interwoven hip-hop is with contemporary ideology, but can also demean the culture by narrowing it into a particular style as opposed to an underlying understanding of things. These philosophers grew up with the culture and don’t necessarily differentiate between what is hip-hop and what is not. But why does the cover have to use a graffiti piece and wack “tag” fonts to sell itself as hip-hop? Why do the editors write in slang to prove their credibility? Are these compulsory tenants of hip-hop, or has hip-hop grown beyond its stylistic margins?

Wait. I’m thinking too much, but that’s what philosophy is supposed to do. And in that respect, “Hip Hop and Philosophy” succeeds. The kids that used to watch park jams from their mom’s fifth-floor window and the b-boys that ironed their Lees into crisp tendrils draped above suede Clydes are now piloting all kinds endeavors.

Sadly, though, the essays are too similar in reference. While each writer has a distinct theme, they all seem to use the same elements as a basis for their arguments, like hip-hop ended with BDP’s final demise around the time of their graduations. The book is filled with Chuck D-isms, NWA references and Poor Righteous Teachers righteousness alongside a bit of “back-in-the-day” tenderness. That Golden Era revelry sits with contemporary references as blasé as Nelly and Jay-Z.

In the end, the book lacks hip-hop’s contemporary contributions. Though the writers perform exceptionally, I feel their comments would benefit from a few nights at an underground hip-hop event.

-Bret Duchen

GET LIT: THE LAST POETS

2010-08-04T05:37:00.000-07:00

On A Mission (Selected Poems and A History of The Last Poets)
Abiodun Oyewole and Umar Bin Hassan with Kim Green, 1996

The Last Poets’ relative obscurity reflects issues plaguing the group throughout its storied career. The realities of being an honest-to-goodness revolutionary and the trappings of inner-city life hindered the group’s evolution, but created compelling drama and cultural relevancy.

“On A Mission” sums up the group’s story through the candid recollection of its most vital members, Abiodun Oyewole and Umar Bin Hassan. The book also collects 30 poems. The works are best heard and not read. They have a more traditional appeal when printed. Though tremendously forceful and persuasive, the poems do not seem as good without the fiery delivery of its author. The Last Poets helped create the spoken word genre, but seem undeveloped when compared to more proficient written poetry.

Predecessors to rap, The Last Poets took the black oral tradition to new heights in expressing minority plight. Springing from Harlem’s black power movement, the poets used their voices to shout against, and antagonize, the establishment.

“Since Harlem was the mecca of African-American political and cultural events, many of us assumed the revolution would start there and spread like wildfire. Being one of The Last Poets made me feel like I was at the vanguard of making this revolution happen,” reflects Oyewole.

The group of three poets and a drummer was born in 1968 at a birthday celebration for Malcolm X. They quickly garnered a following due to their guttural honesty and emotive performances. The Last Poets became instant legends with the release of their first record. They created the revolutionary black poet stereotype so often parodied. Draped in dashikis and ranting about “the man,” the group stated what America needed to hear, while creating an ethnic intrigue that still exists today.

After shocking people into consciousness with poems like “Niggers Are Scared of Revolution” and “Run Nigger,” The Last Poets began to fall apart. New members came and went. They were soon afflicted with issues so prevalent in the 1980s. Umar Bin Hassan was even thought to be dead after struggling with drug addiction. He was so adrift that he missed his royalty money after A Tribe Called Quest came calling for sample clearances in the 1990s.

With a resurgence of popularity based on their impact on Golden Era hip-hop, the group reorganized. The mid-1990s saw a new record (hip-hop heavy and even featuring Chuck D) and a slot on the Lollapalooza tour.

-Bret Duchen

GET LIT: FUZZ-ONE, A Bronx Childhood

2010-07-19T05:01:00.000-07:00

FUZZ-ONE, A Bronx Childhood
Vincent Fedorchack, 2005

Whether you praise or loath graffiti, this tale of youthful debauchery is an essential document of the city-wide aggression and style that sparked a revolution in visual arts. Forget that; this book is just plain ill.

Tons of books about graffiti are floating around, but I haven’t seen anything as raw as Fuzz One’s wild 1970s New York City memoir.

The book, filled with crumbling photos of graff’s early days, is the true story of Fuzz’s unsupervised and chaotic childhood spent wandering the subway lay-ups and city streets at all hours. His bombing mission memories are rife with violent intrigue and period details. Fuzz’s escapades through the city are unnerving when realizing he was doing this in his pre-teen years. Not only was he racking paint and getting up, but he was devising marijuana marketing schemes, dodging Satan worshipers, being shot and stabbed all in the quest for fame.

The book starts out safe, with Fuzz retracing his father’s influence and early departure. He relates his memories of hunting and exploring the woods in his rural home with his later desire to delve into the city’s underbelly. His mother soon moved him to the Bronx, where he wandered the streets as a 10-year-old tagger who wrote “Popeye.” He later changed how graffiti flowed through the city with his unabashed bombing etiquette and stoned style.

Throughout the book he pays homage to the originators and his contemporaries, while never sounding nostalgic. He rarely even speaks of himself as a great writer. But make no mistake; he did more for NYC street culture before he was a teenager than most old-schoolers can claim. The book’s nostalgia is one of its main draws. The pre-rap years are rarely told. His tales of inner-city circumnavigation include some amazing history. You will feel at home with his Bronx tales even if you have no idea of the names he cites. He tells of early street gangs with vicious remembrance and recalls fashions that the most ardent B-Boy would be hard pressed to speak of.

This book is not a trite artifact, though. It is a meaningful look into how young lives can spin out of control and how city life can devour a young soul. Many of Fuzz’s friends were killed during their early years due to unsupervised stupidity while cascading through a time bomb of urban decay that later screamed out as HIP-HOP!

-Bret Duchen

GET LIT: Notes Of A Native Son

2010-07-06T05:19:00.000-07:00

Notes Of A Native Son
James Baldwin, 1955

Noted black intellectual James Baldwin can always be trusted to bring the noise. If you can’t find this little hard-to-come-by gem, just grab any Baldwin book you come across. I’ve read a ton of his work and I’m rarely disappointed.

“Notes Of A Native Son,” which references the famous Richard Wright book, is hardcore criticism of a world not eager to coexist with blackness. In 1940 Wright’s defiant novel “Native Son” brought the reality of growing up black in America to a shocked public. That book helped increase racial discourse, and society soon saw a greater representation of black America in film, music, art and literature.

The problems of stereotypes again arose without much criticism. This book, though, seeks to dismantle the new reality the mass media was offering to the American public. Black stories were presented, but were they accurate? Black faces were represented, but were they accurate? Baldwin starts with these basic questions then delves into the American subconscious with subsequent arguments.

In discussing the increased publication of ethnic protest novels, he writes, “They emerge for what they are: a mirror of our confusion, dishonesty, panic, trapped and immobilized in the sunlit prison of the American dream.”
With this statement he not only describes then-contemporary black life, but also the decomposing stability of white America. This prefaces the rise of the coming civil rights movement, and highly critical artistic endeavors by writers like LeRoi Jones (aka Amiri Baraka) and filmmakers like Melvin Van Peebles.

Baldwin’s style bears significance. He is highly educated and worldly, which gives his opinions a rhetorical leaning. In utilizing this heavy-handed style he is able to fake out the mid-century intellectual by sounding colorless. This allows him to make serious social criticisms while seeming very safe. It is transparent when reading today, but it still works.

The book discusses the white reverence for “Uncle Tom’s Cabin,” while destroying its mythology. It later condemns Hollywood’s mis-marketing of black films. The book chronicles Baldwin’s search for identity, a struggle that took him from the streets of Harlem across the globe. Baldwin’s writings travel through Atlanta’s racial divide and later to Paris to discover how blacks are treated outside America.

Baldwin’s theme refers to “Native Son,” but previous reading of that work is not necessary, but of course recommended.

-Bret Duchen

GETTING THERE...

2010-07-01T06:32:00.001-07:00

The new Senator Bret solo project, "CONTROL", is in its final stages. The GoodSon has been busy mixing (the most tedious and un-fun part of making a record). Stay tuned.

NEW RAKAA LP

2010-07-01T04:59:00.000-07:00

This guy has been a major influence on me since the first Dilated Peoples 12" on ABB. This is one of the first releases in a long time that has piqued my interest.

GET LIT: Arrow of God

2010-06-21T05:16:00.000-07:00

Arrow of God
Chinua Achebe, 1964

African novelist Chinua Achebe offers intimate portraits of an exploited Africa. His books tell of villages dismantled by British overseers and ancient customs wrought useless by white interests.

His tales are politically charged and emotionally stimulating. They touch on world issues, while focusing on human interests. “Arrow of God” focuses on the interests of a small community struggling to maintain its identity alongside new Western ideas.

Achebe’s more famous books, “Things Fall Apart” and “A Man of the People,” identified Western influence as the killer of African traditions. Those books concentrated on white characters and how they infiltrated native areas, but with “Arrow of God,” Achebe dissects how villagers allow themselves to be swayed by change or the lack thereof.

He subtly criticizes Africans for not making cultural advancements that could improve life. Like in all his works, he does not draw any clear lines. He points out native apathy and blames the colonizing British forces for forcing change, but does not offer any solutions. The reader is left to form his own opinions from the disturbed feelings reared from the narrative.

Ahh, the narrative. I guess I should say something about that, huh? “Arrow of God” is a bit slow-going. At only 260 pages, the book took a bit too much patience for my taste, but is worth the time in the end.

“Arrow of God” describes the conflict of change through the struggles of father and son. Set in the Ibo heartland of Eastern Nigeria, the book revolves around Ezeulu, a merry yet dignified chief priest who epitomizes the spirituality and ceremony of village life. When faced with the disintegration of the old order under the impact of British colonial authority, he finds that his own authority and the allegiances of his son are at stake as well.

Through Ezeulu’s story we learn of ancient customs and how those backward-seeming traits can create progressive results within a community of like minds. Those traits, however, are shown to condemn people to a harsh life. Through Ezeulu’s traditional approaches, the reader learns about Western imperialism’s affects, and that is the book’s contemporary appeal.

Achebe highlights the tactics of Christianity’s move to convert African people and crush their identity. He illustrates how governments infiltrate societies and how those societies are affected. As America continues its crusades into foreign countries, Achebe’s work stands as crucial as ever.

-Bret Duchen

GET LIT: The Dead Emcee Scrolls

2010-06-14T05:00:00.000-07:00

The Dead Emcee Scrolls
Saul Williams, 2006

Saul Williams’ most recent book booms off bookstore shelves with the strength of a Bambaataa 808 pushing air out the back of a Jeep cruising through Bed-Stuy on a sweltering Friday night.
Always swathed in hip-hop, Williams reaches back to his rap roots while stepping up his poetic range in “The Dead Emcee Scrolls.”

He claims to have found “The Lost Teachings of Hip-Hop” in a subway tunnel while checking out graffiti pieces. He found scrolls of aged yellowish paper rolled tightly into a can of spray paint. In deciphering the mystical texts he garnered an understanding of the power of hip-hop to “teach us about ourselves and the universe around us.” He says all his poems have been copied from those texts and that the teachings have led to all his ideas and success. Fiction or fact? Mystery or truth? Poetry or prose? Bullshit? No matter what, this book is refreshingly original.

He simplifies his poetry in this work so much that you question his proficiency, but after getting through a line or two you realize he is eons beyond your conception of him. His newer work is strikingly minimal, while being effectively complex and downright battle-ready.

He simplifies his phrasing and drops all unnecessary words, but plays on words more than ever. Like the title, these poems exercise puns and illicit a deep regard for the original references.
His underlying afro-intellectual style is intact, but he shows a gritty, gutta’ side that will shock some of his “neo-soul, nu-jazz, nouvueau hippie-elitist” audience. In re-acclimating himself with current hip-hop trends, he has invented a unique way to criticize mainstream tendencies and justify the need for a higher hip-hop consciousness.

“Bring me all that is mine, all that has been buried, scattered or lost until history is ours again,” he writes calling for consciousness through reminiscence. He then reflects on the past and aligns it with the present: “Dance, nigger. Paint your faces. Shine your shoes. Pop that collar.”

He pushes boundaries and buttons, creating high art that doesn’t hold itself too high.
The book also contains connected writings that reference the time- and mind-frame of the new work. Several familiar pieces appear, such as “Sha Clack Clack,” which was Saul’s character’s triumphant spoken piece in the film, “Slam.” Also included is “OM,” which was presented over an intergalactic beat on the heralded Lyricist’s Lounge CD some years ago.
-Bret Duchen

DOWNLOAD THIS NOW!!!!!!!!!!!!!!!!!!!!!!

2010-06-09T04:46:00.000-07:00

The homie Methuzulah's new project is on constant rotation in the truck. Real fire over Premo production.

"Kemetic Aha" Project Featuring Kam Moye (formerly Supastition) , Boog Brown (Mellow Music) , DINCO-D (of Leaders of the New School) , Punchlyne (eMC), BINKIS RECS, Akil the MC (of Jurassic 5) + MANY MORE This mixtape contains all tracks produced by Dj Premier . Methuzulah also has an indie album "Long Story Short" due to release in November 2010 and an EP w/ Indie Producer Illastrate called "Lamont & Rahlow" due out summer 2011 .

BANDCAMP DOWNLOAD LINK
http://methuzulah.bandcamp.com/album/kemetic-aha

ZSHARE DOWNLOAD LINK

http://www.zshare.net/download/76997955041eeb13/

Living everyday with a "top 5 dead or alive" attitude, Methuzulah formerly known as MojoSwagger has ghost written over time for platinum Hip-Hop artists, and is a member of "THE ZULU NATION AND TEMPLE OF HIP-HOP" and was picked by 50 Cents, Polow the Don , and Common Sense as one of YouTube's Top 20 indie artists . METHUZULAH'S sound is a fusion of Kool G. Rap, Nas, and Jay Electronica . His style and sound is colorfully deep, highly descriptive; It's a street editorial / storytelling type essay on whatever the topic is at hand . On stage, Methuzulah has performed with KRSOne, B.O.B, Black Sheep, Sean Price, Raekwon, Wise Intelligent, Dialated Peoples, Skyzoo, Souls of Mischief, Casual, DJ Nabs, DJ Green Lantern, and Kool DJ Red Alert just to name a few .

Some of Methuzulah's recording collaborations have included Illastrate Productions , Raekwon (Wu-tang), Erick Sermon(Def Squad), Punchlyne, Kam Moye, Alfamega (Grand Hustle), Dynas (ABB Records), Lloyd (Def Jam), Focus (Aftermath), Dj Shakim (So So Def), Mami Montana (Aftermath), Clan Destined (Rawkus 50), Willy Evans Jr. (Rawkus 50), Mr. Probz, Bluntspeakers (Europe), Adrift Da Belle (Dungeon Family) and a lengthy list with at least 100 more artists and producers he has recorded work with.

GET LIT: The Book of Hip Hop Cover Art

2010-06-07T05:47:00.000-07:00

The Book of Hip Hop Cover Art
Andrew Emery, 2004

You better already have this joint because I’ve been sleeping. First appearing in Great Britain in 2004, “The Book of Hip Hop Cover Art” is slowing appearing on your friends’ coffee tables.

British hip-hop journalist Andrew Emery supplies a great trip down memory lane for older heads and an ill history lesson for new jacks. Though the covers are telling, and hilarious at times, the book’s real merit lies in Emery’s focused text. He passionately summarizes entire eras.

Something must be said for the appreciation of hip-hop from afar. Though an ocean separated Emery from hip-hop’s humble beginnings, he writes like he was there. He knows his shit and eloquently dissects marketing trends, label politics and shifting morals that dictate the look of hip-hop.

Lacking in coverage of hip-hop’s later years, the book tracks most of the early releases, at least the ones with real jackets. Vinyl collectors will be enthralled, while other heads will be shocked to see how normal wax was. Sure, we rocked tapes in our boxes, but the j-cards were just reproductions of a square 12-inch jacket. Shit, they were so small you really couldn’t see them. Well, here they are. More importantly, here you’ll find the stuff you’ve never actually seen. Hip-hop’s earliest releases were singles, solely on wax and barely reaching past the tri-state area. They were later collected in compilations, but most of us just dubbed the joints off the radio. We used to have great rap radio in Atlanta when I was coming up. I guess I was appreciating it from afar, too.

Showcasing the wide spectrum of hip-hop’s early aesthetic, the book seems to ask what happened? Emery is excited between 1978 and the early 90s, but quickly loses steam. It may be the sheer quantity of hip-hop releases and massive attention it gained with its pop breakthrough, but the book’s coverage falls way off at the end.
Though writing about the explosion of No Limit’s Pen-n-Pixel-style covers and the mainstream’s flossy tendencies, the related covers do not appear. There is also little mention of hip-hop’s design renaissance in the 2000s, which is seen in the amazing work of underground releases, independent magazines and clothing companies. Hip-hop’s aesthetic is closer to its roots than ever.

Maybe he just likes hip-hop the way he remembers it, and maybe, the way it’s supposed to be.
-Bret Duchen

Ohhhh no...

2010-05-25T11:20:00.000-07:00

<a href="http://massinfluence.bandcamp.com/track/morning-breath-chasers-2">Morning Breath Chasers by Massinfluence</a>

METHUZULAH'S BDAY BASH

2010-05-14T05:13:00.001-07:00

The homey Methuzulah's annual born-day celebration is Friday, May 21 at the city's long time "in-the-know-place-to-go," MJQ. He's also celebrating the release of his stellar new mixtape project, "Kemetic Aha," which yours truly designed (along with an illustration by Lord Yata). Zu's b-day jams are always a blast, even last year's event at The Bench, which was rained out but fun no less. This party tags on to Fantastick Fridays, which my long-time ace, DJ Fudge, holds down regularly with DJ Majestik.

THIS IS WAREFARE - DOWNLOAD HERE

2010-04-30T09:07:00.000-07:00

<a href="http://transistorfist.bandcamp.com/track/this-is-warfare">THIS IS WARFARE by Senator Bret from Transistor Fist</a>

Remembering Nod Factor

2010-04-20T05:04:00.001-07:00

In digging through my hard drive I stumbled upon a folder of old design work that I have not seen in years. Every job is engrained in my memory, but the following really stands out because it was for my homies DJ Fudge and DJ Sky at the begining of a new era in Atlanta's indy hip-hop scene. I can't even remember when exactly this was, but for many years our insular little scene only existed at Apache (Mic Club) and Lenny's (Second Sight) and both events were on Tuesday night! Other than random events at MJQ or the Cotton Club, those were the only places the scene found itself. And honestly, the only place for the DJs to get busy was at Lenny's. Fudge and Sky were always there and records and needles got demolished. A gang of turntablists (Creation, Damn, Dainja, Fari, Synthesis....) would tag team all night to a small, but dedicated group of hip-hop heads. As time went on and everyone got a little older the old basement hang-out feeling got stale and Fudge and Sky sought a new outlet where turntablism would be at the forefront, while co-mingling with art, conversation, food and drinks. They had an idea for a weekly event that would be continuous, cyclical, constantly moving (read: the flyer's arrow pointing left flipped 360 degrees as you'd flip the flyer over). So they put together Nod Factor at the 5 Spot in Little Five Points. They brought in painters to work live with the music, pushed food and drinks (not just the giant cheap PBRs at Lenny's) and culture. BBoys would stop by, but so would writers and artists. They'd always have guest DJs stop in. Just bring your records and get on. Sometimes there would be musicians playing along. I would bring a drum on occasssion and sit in. Fudge even had me DJ a time or two. They'd also have shows from time to time. I remember Transistor Fist playing at the first anniversary show with Psyche Origami and Dylan's first ATL incarnation, Intellect and Dirty Digits. We played with Methuzulah one night when he had just changed his name from Solace Morner to Mojo Swagger. Nod Factor lasted a few years. It was the height of Myspace and the beginning of a new mode of promotion. You could post about an event and people would really show up. Nod Factor was bigger than Fudge and Sky. A lot of people latched on to the energy and helped promote the Wednesday night event themselves. For the first time, I remember seeing new faces at a local event so it was good while it lasted. Plus it was free!

RECENT DESIGN WORK

2010-04-12T08:33:00.001-07:00

Fly flyer I did for the upcoming Heart of the Hood-produced Kev Brown tour stop at the Apache Cafe. It's always great to work for Heart of the Hood. By the way, you can catch me on the drum set at this show adding a soul-jazz vibe to the DJ sounds.

Transistor Fist at Apache Cafe

2010-04-07T07:03:00.000-07:00