Between 2003 and 2005, Kalamazoo, Michigan became one of the most supportive cities of my music. It all started when Western Michigan University’s student-operated radio station, WIDR FM, began putting the Soul Position Unlimited EP and my production album The Weight Room in regular rotation. Unlike most college radio stations—whose programming is directed entirely at the student-body—WIDR’s show programming and events calendar garnered the support of the entire community and the surrounding area. Continue reading →
In 2006, I began working on my sophomore album, Adventures in Counter-Culture. From the beginning, my goal was to make the most ambitious album possible. I wanted it to defy genres, summarizing everything I had ever learned about music into this one album. I was tired of being boxed in with terms like “commercial” and “underground.” I wanted Adventures in Counter-Culture to escape those classifications. Continue reading →
There was a point in my life, between 2002 and 2004, that I became very interested in stand-up comedy. At first I was a fan like everybody else—renting the most popular comedy specials and watching them anytime they were on television—but soon my interest grew more intense. Fortunately, I didn’t have to start my comedy collection from scratch; I was a hip-hop producer, which meant I already owned a decent amount of comedy albums on vinyl. I began revisiting these older albums from comedians like Richard Pryor and Steve Martin, listening to them with a completely different ear and appreciation. Eventually, my favorite comedians made their way out of my house and onto my MP3 player, just as any great album would. Continue reading →
After laying low for the past couple of months, I’m proud to announce my new book, What a Night is finally here. The book takes the reader on a journey through my twelve-year touring career to tell the stories of the worst shows I’ve ever experienced. What a Night is part comedy, part tragedy, and 100% entertaining. I hope you will support me by ordering your copy today.
A couple of weeks ago on twitter, I made the statement that it’s easier for a performing artist to remember their bad shows than their good shows. I wasn’t suggesting that good shows are meaningless or unappreciated, my point was that we remember the bad shows more often because they provide a larger opportunity for learning and growth. In most instances, it’s hard to justify a reevaluation of your strategies when you’re being successful. But as soon as you fail, you start to question everything. In my opinion, the best performers aren’t the best because they have a talent others lack, they’re the best because they’ve all had bad experiences that made them take their level of preparation and performance up a notch.
Last week, when I mentioned I was going to post a chapter of my upcoming book The Making of Adventures in Counter-Culture, there was a lot of interest in an audio version of it. Well, the people have spoken! Here's the audio-version of Chapter 10 “Radio-Inactive.” The audiobook version will be available to download on Monday April 16th as well. Pre-order the book HERE