Robert "Bobby" Du'Vall Humes, Sr.
Director/CEO
Semuh Breeze Promotions
Dream It. Believe It. Produce It. This is my new motto and I hope this blog will give you insight into what we are doing at Semuh Breeze (pronounced "summa") Promotions to assist young, talented artist to realize their dreams.
Hip-Hop is a unique form of expression. The true essence of a genre derived from life experiences, the ins and outs of the daily grind--Hip-Hop fuels that grind and in the right hands it can be a powerful force for community awareness and change. The successful understand that hard work, realness (this means not selling out by the way) and talent are what make you great. Today that mantra seems to have stalled amidst the cookie cutter, ringtone, auto-tune products hitting store shelves in the name of Hip-Hop. "Candy Rap" (also known as Crap) has taken over the airwaves in many cities causing true Hip-Hop heavyweights to head underground where appreciation, street cred and skills still reign supreme. Every now and then one will return to the surface to denounce the cultural blasphemy present in the game; enter 3Rd Degry aka The Real Nobody - this "one man show" understands the ups and downs of the industry and is a part of a movement of lyricists that are emerging from the subterranean shanties of the underground Hip-Hop scene to take back Hip-Hop and take Hip-Hop back; get it? You will, read on.Finish this statement: “Hip-Hop is………
"Well, I can tell you what it’s not right off the bat, and that’s DEAD. I mean, honestly, to me, Hip-Hop is everything. It’s not just a way of life; it is life. I live and breathe Hip-Hop, it rests in our surroundings. It’s the graffiti on the wall by the bodega, the fitted hat leaning over your forehead, the boy’s break dancing in the train station at Times Square, that’s Hip-Hop. You might be asking yourself why I couldn’t finish the quote to begin with, and that’s a great question. I just feel like the skinny dippers (skinny jean wearers) aka the younger generation, and some of the older generations (shame on them) have lost all meaning to what Hip-Hop once stood for. A lot of these artists are out there making a mockery of their own culture just for a check, and that’s fucking scary. To think that you would bow out and or sell out on your own struggle for what the “popular demand” might be aggravates the shit out of me. Hip-Hop used to be about community and unity, there was no separation between artists because Hip-Hop was not just a popularity contest. It used to be solely based on what the artists and the people in their neighborhoods were facing, it was real talk, real life. Nowadays most the music has no relevance to what we live, there’s no substance anymore and the hate in the air has divided that same unity into Underground and Mainstream. Bottom line though, I can respect that the times are changing, I just can’t respect the change itself. The candy rap is not for me, I find glory in lyrically making sense, and having people become emotionally attached to my music because they can actually attest to what I rap about. Its as real as I am."
Were you influenced by the Latin music you where exposed to at a young age?
"Absolutely! There’s no question that my Puerto Rican background has influenced me musically. I am an extremely eclectic individual; therefore I draw inspiration from all that I hear. As I was growing up I realized that in all music, no matter how much the rhythm moved you, the words were what brought those instruments to life in my eyes. Once I began taking notice to the passion behind the lyrics of those same salsa and merengue records I would hear repeatedly, I knew I had found a form of self expression that would not only save me, but inspire others. Seeing Fat Joe and Big Pun make the transition as latino artists also proved that there was room for me in the game. So with that knowledge in hand, I set sail."
Who are your inspirations?
"Well, in Hip-Hop my inspirations are/were Big Pun, Notorious B.I.G., Pac, Jay-Z, Nas, Rakim, Big Daddy Kane, Kool G Rap, Big L, Slick Rick, KRS-One, Eminem, and honestly, any other lyricist you can think of. It always boils down to what you’re saying as an artist to me, because if I feel it bares no importance to life or what we go through as we struggle then I can just stock pile you with the rest of the bullshit music makers. At the end of the day, if I had a bad day at work and I come home to throw on some music, I’m not going to sit there and listen to “Stanky Leg” so I can feel better about it.
Now as far as my inspirations in life go, I have my mother Lorraine to thank for the fight in me. She has suffered through cancer, and open heart surgery, and still she continues on as if to say “nothing can keep me down”. I also have my sisters Ashley, and Summer, and my late girlfriend Layla to thank for never doubting me and supporting my every thought, no matter how empty the glass might have been, they always viewed it as half full. I also view what I have seen and lived as inspiration in itself. I mean, there’s nothing like being inspired by what you see, feel, or hear because those are the things that make your music REAL."
You’ve had some early industry drama in your career with bad management, how did that affect you aspirations?
"It didn’t affect my aspirations at all. It only made me smarter and better. I remember busting my ass to make sure we had everything ready too. I mean, he had us fooled. We came out of pocket for trips, studio, nearly everything. Meanwhile, he was selling our music and lyrics to other artists. I also had drama with artists while doing my songwriting thing. I wasn’t getting credit for my work with certain people and the labels will take you for a sucker in a heartbeat. It’s situations like that that either make or break an artist, and I was one of the lucky ones to be made."
So you’ve bounced back?
"No question. I have a new attitude, new goals, and it’s a new me out there baby. I couldn’t allow myself to be broken by anything or anyone who hadn’t seen my vision. Instead I felt I had to make them see it, and slowly but surely I’m opening eyes."
What projects are you working on?
"“Pardon The Interruption” which will be dropping shortly. It’s my way of saying “Excuse me fellas, my name is 3rd Degry aka “The Real Nobody” and your shit is trash”. I think it’ll be pretty self explanatory once it hits the ears of the critics. Aside from that, I am also working on “The Real Nobody” EP but you didn’t hear this from me."
Any guess stars?
"Not really. Truthfully speaking, only features I give out are to artists who need/deserve the opportunity to be heard. Unlike many, I enjoy taking the road less traveled. I refuse to use another niggas buzz to get on. I would rather ride my own fucking coat tail to the top and that’s why I grind so hard."
What’s your dream collabos?
"Good one. There are so many artists I would love to work with right now who I feel are amazing, such as Jay-Z, Kanye West, Common, Busta, T.I. and Ludacris out of the South, Justin Timberlake, Timbaland, Ryan Leslie. The list is rather extensive, but we’ll see who I can check off of it soon enough."
How did the death of Michael Jackson affect you?
"It was devastating. I mean when I was young all I remember was Michael being everywhere. World tours, music on every radio station, it was hard to escape his greatness. If there was ever one artist that showed me how much music could affect people’s lives, it was Michael. May he RIP and long live the King."
What’s the state of NYC Hip-Hop?
"NYC what? (laughing) It’s practically non-existent. I’ll keep it a hundred with you as I always do. The only place NYC Hip-Hop lives is underground, because the artists who do get that mainstream shine in NY are for the most part NOT making Hip-Hop. It’s apparent to me that the people aren’t the only one’s who have lost sight of what Hip-Hop is and should be, the artists themselves are blind as well. Instead of glorifying the bullshit for your check why not work on your songs and lyrics so that we can actually respect you for what you’re trying to do. I understand it’s a business, but I can only respect those who respect themselves. Real recognize real, and I know half these artists aren’t sleeping comfortable at night knowing that they’re making the music they’re being told to make and not the music they feel like making. So let’s just say NYC Hip-Hop is presently being plotted on for its assassination."
What sets you apart from the rest?
"I believe what sets me apart is my love for what the game stood for back when it began. I’ve always respected what Hip-Hop meant to us. Its point of views, and the artists that took what they did seriously. At the end of the road I stand alone because I am me. My music is an immediate expression of not only my own struggles but the struggles of those same people I want to understand me. So what better ways to gain their trust and ear than by putting their exact thoughts on reality into words we can all understand? What sets me apart is that I’m not really here for a check… I’m here because I love Hip-Hop."
Final question – everybody gets this one: Where will you be in five years?
"Ha! I don’t do 5 year plans buddy. I leave it all on the line everyday so that God can decide whether I worked hard enough or not for what I want out of life. So rather than answer that, I’ll do you one better. In the next year, expect to hear, see, and feel my presence in Hip-Hop. You’ll know the name by then."
Signing off,
One day my mother, who worked two jobs to support us, dropped me off with my cousins while she worked. My cousins and I got up early to watch TV while the rest of the house was quiet and sleeping. The sun had not reached it's peak and the house was dark and cold. We turned of the TV, tuned in to MTV and caught the Thriller video just as Michael, in that iconic red leather jacket, walked a young girl down a dark street. I still get chills thinking about it. A mix of emotion came upon us. Scared, thrilled (no pun intended) and in complete awe of the effortlessness of MJ's dancing skills. It was captivating. Michael Jackson left an impression on me that day that I will never forget. I would walk around the house, grabbing my crouch, thrusting my pelvis - all of which would have never been socially acceptable in my house if it where never for MJ. I wanted to be him. No for the fame or fortune, I had no value of such things at the time. But he had this "something" about him. You knew he was great.
Every week we highlight the best in Hip-Hop and R&B. From Indie labels to freshmen in the majors we look for the dreamers, believers and producers holding it down for their fans--bringing music we can appreciate and aspire to. This week in no exception. The "mixing bowl" of hip-hop comes in many flavors. From laid back southern vibes to up north street bangas, and out west hood anthems--hip-hop is a mixture of grit, passion and style. Yet while the majors struggle to keep mainstream fans interested in rampid commercialism Indie labels and their passionate front men and women are up to the challenge. Enter Melskino and his camp of superstars taking Latin Hip-hop to new heights and the digital airwaves by storm. This mogul has his hands in everything from producing to director to establishing Smoke Squad International has a pivotal name in the rap game. We had the opportunity to correspond with Melskino to ask him some questions about the status of Smoke Squad Int. and his vision of their bright future.
Don't ask Cise Da Con, one of New York's hottest Rappers, what he thinks about the rap game. He's got his eyes set on making history for himself and hip-hop with his latest album, "Da Biography". Veteran Cise gained fame in local spots, battling underground. He molded his prominent style through joining various rap groups such as DA CORPORATION, , A.K.O ENT., A MILLION WORTH, FALLOUT SHELTER and his click DA FIFTY POUNDAS, which he led as the front man. Harlem native, Cise has been bringing effortless lyricism to the game for almost a decade. His style takes you back to a time when lyrical style meant everything. Cise is a true artisan of his craft and for that - we choose him as our Spotlight Artist of the Week. We had the opportunity to correspond with with The Mega Man of rap and this is how it went down:
Imagine an orchestra without its Master Violinist, a mass choir without a soprano section or a rock band without its photographer. Hard to image right? For decades photographers have braved swarms of excited fans and dangerous stage performance enhancing props to bring us the photos that commemorate timeless musicians. Vincent Lagana is one such artisan in the craft of photography. Vinnie's extensive background has given him the opportunity to work (use the word "play" interchangeably whenever you see the word "work" because photographing rockers looks fun as hell to me!) alongside some of music’s most talented legends to include: Deep Purple, Jethro Tull, Canned Heat, Tito Puente, Uriah Heep, Living Colour, Sting, Joan Baez, and Crosby, Stills and Nash just to name a few. Vinnie was gracious enough to let us review his Interview with Flash, an international music magazine:
Why did you decide to become a photographer?
"I've always had a passion for photography since I can remember thumbing through magazines when I was approximately 3 years old. The power of the image is so strong and I enjoyed experiencing that power first as an observer. When I was ten years old I became fascinated by a draw full of negatives that my family kept over the years. I was then drawn to the mystery of how a negative transformed an image onto paper. So I asked my father how it was done and he explained. He then agreed to buy me a developing kit from a photo store in New York. That is when I learned about black and white developing. My "laboratory" was the family bathroom. I was not able to afford an enlarger at the time so, all I was able to do was to make contact sheets. I fooled around with an "instamatic" Kodak of the time and enjoyed the darkroom. As I grew older during the 70's I became re-intrigued by the power of photography. Growing up between the 60's and 70's in New York was great for the visual arts. EVERYTHING was image. The Peace sign was elaborated in thousands of ways, posters were all over and in everyone's room ranging from Jimi Hendrix, to Black Power, to the famous Zodiac "Love Positions" Black Light Poster. If you walked the streets of 42nd Street in Manhattan you could not go without seeing the famous Frank Zappa poster known as "Fizzappa Crappa." The 60's and 70's were also rich in Rock & Roll photos and posters. The photos of Rock & Roll stars were also all over. Posters and photos of Robert Plant, Jimmy Page, Eric Clapton, The Who, Jethro Tull, Pink Floyd, The Rolling Stones, Mick Jagger, The Beatles, The Doors, Joan Baez, Bob Dylan, John Lennon, Carlos Santana, Jackson Browne, James Taylor, Janis Joplin, Cat Stevens, James Brown, Cream, Grateful Dead, Steppenwolf, and the list goes on and on. For the first time photography also gave us very real, powerful, and insightful looks into the Vietnam War. The impact those photos had been so profound around the world that, it eventually played a role in stopping the Vietnam War. Photography and the images it portrays were also going through a revolution of its own in technique. The new use of 35mm cameras was a revolution in itself. It afforded the photographer to be in places he otherwise could not have been with a larger camera. This revolution was also recorded into photos from this new small professional camera. The 35mm. camera played a big part in concert photography in the time period of "Make Love, Not War." It was those events, and times that inspired me to be a photographer. I wanted to be able to capture the energy of the moment. I wanted to make photos that "say a thousand words." In September of 1980 I received my first 35mm camera, a Canon AV-1 which was an automatic 35mm camera for amateurs. In December of 1980 I was personally working for the Chief of Bonn of Newsweek as a photojournalist. In January of 1981 I had my first photo published in Newsweek. The feeling was awesome, especially when I received my check! After this experience I was hooked on photography."
Did you attend some professional training school?
"No. I did not attend any special schools. I am self taught. I did however attain a Certificate of Graduation in Professional Photography, from the New York Institute of Photography in 1992. I felt like "legitimizing" myself. However, the bulk of my training came from "The School of Hard Knocks." I learn from my mistakes, I research, I read books, magazines, Internet articles, and most of all I observe and "take in" any information regarding photography. Of course one of the obvious things to do is look at other great photographers that came before you so; you can have a "meter" to evaluate yourself."
Is there a photographer who inspired your works?
Yes and no. I can name some that inspire me like Helmut Newton, Mapplethorpe, Annie Liebowitz, Chris Dreja (original Yardbirds member) for many of his fantastic historical shots of
Led Zeppelin, Jim Marshall, Ansell Adams, and many more. I am also inspired by photographers of National Geographic, Life Magazine, and all concert photographers, and photojournalists in general. The first photographs that inspired me, many times did not have names of author on the picture. Photography, in my opinion, is just like music. "It doesn't matter who makes it, what matter is if it is good.”There are a lot of "no name" photographers out there that are good but, unknown. Just like in the music world there are a lot of great musicians out there that just have not yet been discovered."
Why did you choose to work in the Rock scene?
I chose the Rock scene for two maybe, three reasons. First, I love Rock music and lived a
period of time when Rock music was revolutionized, had an impact on social change, was louder than ever, and it was the time Rock & Roll made its transition into the labels we give it today called Psychedelic Rock, Hard Rock, Heavy Rock, Heavy Metal, Progressive Rock, Latino Rock, Protest Song, Alternative Rock, Acid Rock, which some day will all be "labeled as classic?????." Today I still get a chance to see some of those legends of rock music and experience the same passion they created. That is what WE DIDN'T HAVE in those days of the "Rock Revolution." We listened to every style of music there was all on the same radio station!! People actually listened to "unlabeled, not categorized" music. At one moment you could be listening to Ina Gadda Da Vida, then Superfly, then some Tina Turner, next some Hendrix, Doors, next Simon & Garfunkel followed by King Crimson. This is what people forget about of that period time. Music between 1960-1975. The music we listened to on the radio varied in style and context. It created a multilevel listening level of enjoyment from all strands of society. This was a sign of the times. Free thinking, listening, and protest against the established repressive globalized "system," or "The Machine" as Pink Floyd called it. People were becoming more universal through music and more expressive. Freedom to "listen" existed. Then came the agents. Then came disco and it killed everything for a while. I have nothing against disco. Good dancing music with a limited fundamental beat but, you hate "to dance to the same drummer." That mixture of diverse music once heard in the 60's and 70's is gone. As Ian Paice, drummer for Deep Purple once said to me "over the years record company's talent scouts have been replaced by accountants." A second reason I chose the Rock scene was because I can get in FREE to see great concerts! I dig Rock music. I'm an old rocker that had the opportunity to see great rock & roll history in its making. As a concert goer I saw the Who when Keith Moon was still playing with them, I saw Led Zeppelin live at Madison Square Garden in the 1970's. I've seen Kiss in its prime when everyone knew of the "Kiss Army." I stood in front of the right channel of mountain like speakers at an ELP (Emerson, Lake, & Palmer) concert. And now that I am a concert photographer I have had the opportunity not only to see these concerts but, also to be backstage with legends of Rock music. At times I have had the added pleasure to party with Rockstars, or just sit down and have a beer with them to chit chat. What more can you ask for? Third, I just love Rock music, and having the ability to capture a special moment in Rock history on film, or digital camera is an awesome sensation of accomplishment. Having both a passion for Rock music and photography, to have them coexist and produce a moment worth looking at, "just makes for greater music." To put it in simple English "It's fucking great to see your profession and passion on the cover of Rolling Stone."
Any good stories about the bands with which you've worked?
"There are a few strange stories but I think they are only strange if you think that rockstars are not human beings and hold an image in your mind of what you think a rockstar should be like. You know what? They are just like you and me. Some a little bit more eccentric than others but, just the same, they are flesh and blood just like us. At some point their passion is also a profession, somewhat of a job sometimes. They have families to take care of, bills to pay, deadlines to meet, and lots of time away from home. Just like you and I they experience all the same problems in life like we do. What used to seem strange about rock stars years ago is now a standard of most Western industrialized civilizations. That is "Sex, Drugs, & Rock and Roll!" Which sector of society is any less strange? However, the strangest band I ever met was TAMPAX, an original Punk Rock band from Pordenone, Italy. These fuckers are strange and are still alive! Which are the difficulties that a photographer can have during a photo session? The biggest difficulty is in the "pit" as it is called. The pit is the area usually in front of the stage area where photographers stay and photograph. The area is restricted and shared professionally by all. However, the area is not entirely yours and at times you can find yourself in the wrong position of the pit area and miss a great shot. The pit area is also limited in time. You can only stay in the pit area for the first 3 songs of a band, sometimes on only 2 songs. Not much time to get a great shot. There is a lot of pressure in the pit."
In your opinion, is competition one of the rules of the Rock
photographers’ world?
I'm not sure what competition you mean. Personally, I look at my photos for myself first and then I criticize. If I feel a photo has some merit to appear in the public eye, and meet certain professional standards, then I keep it. I constantly compete with myself to get a "better picture." As far as competition translating into "making a living," then there is no competition. I am a freelancer and once again I have to compete with myself to try to get published. Marketing yourself is one hard lesson to learn when you are a freelancer. I think the biggest competition professional photographers are faced with today is the competition with people that give their work away for free to bands and magazines just to see their name in print. That has truly hurt the capable professional concert photographer. I could not do this job if I didn't have additional income from other sources. But, again, I feel the competition comes from within. In order to do the best job you can with passion as to represent yourself with pride and honor is not solely based on extrinsic values. Hopefully they will come to someday.”
Which bands would you like to work with?
“Rush, The Rolling Stones, AC/DC, Tom Petty, Willie Nelson, anything with David Gilmore, Beck, Evanescence, and there are so many more.”
How do you get such high quality shots?
“I try to keep my shots in the best focus possible while trying to catch the proper lighting, and action of the photo. The photo has to be more than just a candid. There must be the proper combination of focus, lighting, expression, and action of the subject that ultimately expresses into "this is great photo." That is what I strive for.”
Who was the most "difficult/easy" musician that you worked for?
This one is easy. Mick Box of Uriah Heep is the most easy to work with. I have met few people like Mick that can make you feel totally at your ease and treat you with the utmost respect. The man just has it all mixed up right. He is professional, kind, respectful, and down to earth. In a very important way it was Mick Box and Uriah Heep that kept me believing I should continue my concert photography. It was easy to get my photos to them, be exclusively published on their Sonic Origami CD, be nominated their official concert photographer, be brought on tour with them to Croatia, Germany, Austria, and Italy AND get paid for having my photos published exclusively in my very first professional music CD with a legendary band called Uriah Heep. The most difficult to convince that I was worthy of being their official photographer while they tour in Italy was Deep Purple. Deep Purple's manager is a tough business man and a photographer to boot. I must say he has many great shots of Deep Purple and I admire his work. The first time Bruce Payne recognized my work was after about our third meeting in a hotel lounge during a Deep Purple VIP party. I handed Ian Paice a new photographic poster I made of the band. Bruce Payne caught the poster by the corner of his eye, stopped, looked at the poster and said "That is great. Did you do this?" I then gave out free posters to Steve Morse, Roger Glover, and Jon Lord, and of course Ian Gillan. From that point on my work proved itself worth for Deep Purple. That is all I ask. I don't want fame but, I'll take the fortune. I just want my work to be worthy and get its just recognition. A "fair pay for a fair days work."




Finish this statement: "Art is.....
Art is many things. Read on if you dare… Art is a shitty gate that leads to a frozen lake. Art is the light reflecting off a bald man’s head near a lemonade stand. Art is comparing chest hair after breakfast. Art is placing one of your rather large terds into the cat box and telling your girlfriend “Babe, I think the cat is sick” (I’ve done this one)

What is "pop" art?
Ok, everything I said about art earlier - place it all in a bucket and let it sit and ferment like wine. Now scrape the thick gunk off the top with a sharp object. You now have Pop Art. Pop Art is the crème of the crop, the sweet and sometimes sour stuff. It is put on a wall in front of your face and it demands recognition. It can be loud, persuasive, and sometimes repugnant but it is always entertaining. If Pop Art was one word I think it would be banana. Don’t ask me why.
When you sit down to start a new work--what goes through your head?
Before it ever gets to my head it cultivates from my heart. I promise I am not trying to be a sap. This goes with what I claim art to be (for me at least). The heart chooses the subject, the head then interprets the language and the hands deliver the message.
As far as an exact thought running through my mind just before a new work… I am usually thinking about how it will look when it is finished. How people will react to it. Sometimes I just daydream about how many ways to execute style or even what color would look best. And if I drank a Red Bull or a Cappuccino before hand… you better just stay out of the studio.
Who are your inspirations?
I have many. I can probably name one for every letter in the alphabet. I believe the more inspirational beings you acquire the more receptive you are to obtaining knowledge. To name some randomly… Henry Ford for the quote, “If you think you can or you can’t, either way you are right”. Walt Disney for that “two-buttoned” mouse. – Joseph Merrick (Elephant Man) for the humility, rejection and isolation he endured within his lifetime. – Kurt Cobain for teaching me to play the guitar (not literally). – Martin Luther King Jr. for his unbiased speeches during an absolute biased world. – Enzo Ferrari for producing that bad-ass, little red car. – Charles Darwin for standing up for what he believes in. – Galileo for challenging the Church and the mental state of the 15th Century that the world revolved around the Sun. – And Jim Henson for the Muppet Babies. The list goes on but I’ll stop there. These people, among many others, inspire me to create.
You've been winning art contest since you where a young boy, how did you get started?
It all started with the push of a pencil. Most kids were playing four square or reading some weird ass book. I was lost in my doodles and sketches of random subjects (mostly comics). Sometimes I would draw the teacher making out with a student. I actually got caught drawing a “little guy” hanging from a clothes line (between two buildings) going to the “bathroom” on someone below. - That one was sent back home to my Dad with a “bad behavior” remark. I don’t remember him doing anything about it so it must have not been too bad. As I got older I stayed immature but I stopped drawing naked dudes.
What is your favorite piece?
Did I mention most artists are narcissistic? My favorite personal piece isn’t here yet. It’s on the way. It is a vinyl toy figure of thyself. (I know, how disgustingly beautiful right?) Anyway, it will have a respirator mask similar to the one I use when I paint. There will be about 4-5 variations at a quantity of about 250 each. There will also be a DIY (do-it-yourself) version that collectors will be able to custom paint. You can view the prototype here… http://www.flickr.com/photos/hollyworx/3529664384/
You've taken northern Italy by storm, been featured in TIME Magazine, and are receiving request from Galleries in the states to showcase your work--what's your next goal?
How about the world’s largest self portrait by one sole artist? My goal is to have it completed by the end of the summer. It should be about 35,000 square feet and consist of many faces (I’m not completely vain on this one).
The current economic crises are causing city and state governments to cut funding for art programs-what's your take on the subject?
I have absolutely no knowledge on the subject of funding for art programs. Maybe I should know more but I have always been reluctant to ask for assistance. Probably out of fear of rejection. I am not at all saying anything negative about these fruitful programs. I am all for it. I just have never encountered the experience of help from an outside organization. I do however love giving back. I will be listing 100 Celebrity Nude Paintings. (Don’t let the title throw you of) To raise money for breast cancer I will be selling paintings of boobs. Yes, you heard me right. Each painting will be of a stellar boob named after a famous actress. They should start going up this month so keep your eyes peeled for that.
Many of our readers love music-who do you listen to as you work?
I listen to ALL music… and I mean no offense to anyone but you would probably never catch me listening to Country or Gospel. A song that has caught my ear recently that is now on rotation in the studio is a song called Welcome Home by Coheed and Cambria.
Final question--do you see yourself doing more commercial work, maybe designing clothes?
I definitely see myself designing gear somewhere in the near future. Who knows maybe I’ll let my daughter take the reigns on that one. She’s only 3 months old so lets give her a couple years first.
A wink and a nod to Bobby Humes for the chance to express. A congratulation is in order as well for the birth of beautiful “Little Carter”
Thanks for all that you do.