Please Vote for me for the Rockstar Energy, Sullen Art collective and Inked Magazine #‎13thArtist design A can contest! Voting ends July 25th and they announce the winner July 31st, You can Vote once per day per email so please vote everyday until then! I really appreciate it!! Thank you all that have voted and those of you who continue to vote daily! It means the world to me! follow the link below to Vote or Visit




Vote for me for the Rockstar Energy 13th Artist Design A Can contest


I am entered in the Rockstar Energy, Sullen Art Collective and Inked Magazine 13th Artist Design A can contest. If you could please Vote for both of my designs, you can vote once A day per email so please do so I really appreciate the love and support. I consider myself more of an aspiring artist then I do an artist. I have A deep love and passion for Art in all of it’s many forms. This is the first time I have ever entered in anything like this. I actually made this design using my Samsung Galaxy S3. Winning this contest will be an opportunity of A lifetime for me. I consider myself the underdog in the contest cause all the other artist have extensive backgrounds with their Art to where im just A simple Aspiring Artist and Tattoo Artist. I hope I can get your Votes I highly appreciate them.!/sullenfamily/photos/pb.42303941828.-2207520000.1400700688./10152018418866829/?type=1&source=42

Is there room for aging rappers in hip-hop culture?

It’s common to hear today’s rap fans dismiss 
middle-aged artists as “washed up” old heads with nothing more to offer. While I agree that there are some rappers (young and old) who are better off bagging grocery than trying to “make it rain” in the club, this argument is a knock on the bevy of able veterans who’ve helped keep hip-hop relevant.


There’s only room if they can still produce. Its as simple as that. You don’t have to be making music currently to maintain the fact that you are a legend. We don’t need to hear their newer stuff to appreciate the music they made that actually matters. If they retire, its not like what they did goes away. That history is still there and will never leave. And no, music artists of any genre don’t get better with age. In most cases, the best stuff is the first album. Nas’ best: Illmatic. Jay-Z’s best: Reasonable Doubt. Dr. Dre’s best: The Chronic. Sometimes, they get a little better, but at a certain point, they peak and everything else pales a little bit in comparison. Jay-Z, Nas, and Eminem can still play, but I think I’ll check out Curren$y before I check out Ice Cube’s new album.

—Guest Jonathan

Legends are Always Legends

I personally believe that to this day aging rappers still produce the most lyrically inclined music. Modern day rappers want to talk about who they killed and who they had sex with, when old school wants to discuss life and what it means. Why would I want to listen to Lil Wayne make up a word just to make a rhyme when I could put on some Sir Lucious Left Foot and hear Big Boi spit fire. Or why would I listen to the Game dis everyone alive when I could listen to Jay-Z flow like water while ignoring his childish comments. No I believe the exact opposite, I say we stop letting lame mainstream rappers emerge on to the scene until they can prove they know what real rap is
—Guest Horace

Imagine If soulja boy was vintage

If it were not for the greats when you had to actually have talent I don’t know what we’d do now. I can out rap most of these clowns nowadays.—Guest bostic

Definitely Fine Wine

Rakim said it best “Timeless, cause age don’t count in the booth, when your flow stays submerged in the fountain of youth” That being said, I certainly don’t mind “aging” rappers making music. If you can still flow and have a passion for it, then you can go ahead and do whatever you please. Besides, with all these new and young rappers coming in to Hip Hop today we need the elder statesmen to stay and make music. To teach the young ones a lesson and to help to keep the music alive.— Guest bigpoppa1115

aging rappers

i too cherish older rappers its like looking at ancient Egypt and seeing the mighty pharaohs who built this genre and as long as they can create something worthwhile it really dosent matter i mean think about it there are old gospel and rand b singers still gardnering attention why should hiphop be restricted to kids who know so little of its roots and true meaning not just rump shaking and club hopping but expressing oneself artically i myself am a 16 year old rapper heavily influenced by 90’s rap and without it we’d just be another fatherless child struggling to find our way.
—Guest avarice

Fine Wine or Fast Food?

Any rapper who has at least put out a classic album should never put down the mic. The whole thing about a “washed-up” rapper at age 35-40 is bogus anyway; a rapper can be 25 years old and become washed-up because he’s not “bringing that heat” from his first album, so age doesn’t matter. The last thing I care for is age, because musicians in any genre are supposed get better with time, not worse. Of course they’re not gonna sound like their 25-year-old selves, but that doesn’t make any album any worse. And no one is gonna get me to say that hip hop is dead, but it is, it’s because of the lack of respect for the older rappers. Hip hop wouldn’t be what is if it wasn’t for the older generation. Not to mention that this is a culture, not a sport. Joints and bones wear out, but if a rapper is that good, he can keep going until he becomes a mute or goes deaf. There are more important issues with hip hop than age anyway, like a lack of positivity and the female dilemma.—Guest Mark Sylvia

Better with age

Well as with wine, rappers get better with age. If you listen to most middle aged rappers today and compare them to how thay sounded 10 yrs ago, you’ll find that they make alot of sense now. A good example is Cube. In his most recent album he actually he got lots of advice for the younger generation, which is how it should be. Just like in African Societies, the elderly share their life experiences so that the youth cannot make the same mistakes they did; the case should be similarion hihop.—Guest Lumumba

Where are the instant classics?

All the young rappers are standing in the shadow of the older ones, that’s my opinion. If they made half a reasonable doubt or half an illmatic they would be stepping out of the shadow. I think the older rappers are the reason why the whole rapscene still makes sense. I think they will know their time has passed when there’s an instant classic from a younger rapper, but the truth is that no young rapper seems to be capable to produce that kind of albums anymore. No?—Guest Bob

They built this house!

Is there room? It’s a tragedy that this question even has to be asked! The names mentioned in your article along with their predecessors are the reason that this genre has exploded to what it is today. I was just thinking the other day when Michael Jordan was introduced into the basketball hall of fame, that the greats always seem to go by too fast. I know I’d never get tired of seeing M.J. hit the last minute buzzer beater to win the game or his awesome air time. There are so many awesome talents in sports that are rushed into retirement for the next up and coming rookie of the year. We should be so thankful that it doesn’t require the ultimate body to be the hip-hop equivalent of Michael Jordan. With hip-hop, we don’t have to set age restrictions. As long as the gift is there and they results are the same, age definitely should not matter. We should embrace the fact that it doesn’t! Don’t rush those who can still perform into retirement! Cherish them!—Guest Stacy Pearson

Older Rappers Lead the Way

I have a friend who exists on the other side of the hip hop spectrum. I like older rappers and the younger rappers that emulate them, and she likes the rappers that rap about sex and the club who should take a lot of pointers from their elders on how to rap. I respect both equally for what they’re able to accomplish off of their talents, but the same respect should be paid to all rappers equally and if not, more to the ones that put rap on the map.—Guest David

The Comeback of the Century: Please Help Donate


One nearly died, the other is fighting Lupus. Timothy Rhyme and Nay The Producer (First Dirt) are trying to make the Comeback Of The Century, literally.

Timothy Rhyme nearly lost his life on July 18, 2011.  He bled out internally and almost met the man upstairs.  Since that traumatic day, he has bounced back like James Blake.  Shortly after his recovery, he moved to LA to be closer to his daughter, got into CSUN, has made some significant strides in his music career, and kept his focus on helping people.

Nay The Producer was diagnosed with Lupus August 2012.  She spent the entire month  of October 2012 in the hospital. This flare up was so severe it caused fluid in her lungs, fluid around her heart and two blood transfusions. To go from a self reliant, hard working woman, to needing the assistance of a walker and cane to do menial things has put her in a hard spot.  Regardless, she keeps fighting and hasn’t let this unrelenting disease stop her from moving forward.

  Both have seen their lives be flipped upside down and completely altered forever.  This campaign is an attempt to raise funds to put together an amazing album but it subconsciously is touching the warrior spirit that we all have.  Some people would have let their circumstances get the best of them but Timothy Rhyme and Nay The Producer would not let defeat be a word that described them in this story. 

 This campaign is important for several reasons.  Not only will it allow Tim and Nay to tell their story.  But it will allow them to inspire others and show other people in similar predicaments that there is some hope and that they aren’t alone.  Music is one of the most powerful tools in lifting a persons spirit and this is one of the main objectives of this album.  In a world where most of the messages in music are about “cool” stuff and a glamorous life, Tim and Nay attempt to show that you can still make good music with a good message.  

If you have ever faced a challenging time in your life and just wished you had that little nudge to get you to the next step, this is your chance to be that to someone else.  This is your chance to be apart of the Comeback Of The Century!

What Your Generosity Will Fund

Through experience, Tim and Nay have figured out how to release a successful album.  They each have years and years of experience in this industry and have seen the formula first hand.  The main components are:

1.Mixing / Mastering

2.Album Cover Design 

3.Music Video




We budgeted every penny and used fair estimates of making sure we didn’t sacrifice quality.  If we are going to ask people to invest in us we want to make sure that their money is used to create the best product possible.

If for some reason we are unable to reach our goal.  Your investment will still be used for this album.  We might have to cut some corners and go the cheap route on some of the extra costs but either way it will go into the final album.

The Impact

Tim and Nay are really hoping to set a tone in the hip hop world.  They are consistently breaking down barriers when it comes to music arrangement and content within the hip hop community.  To be able to release this album in the manner they would like to would mean that the younger generations will have a new message to relate to.  In a world where negativity and self destructive tendencies reign supreme, this is a breath of fresh air to those that are looking for more honest depictions of the world they live in.

In the end, Tim and Nay hope to inspire future artists, students, and people in general to not be afraid to be themselves. They want to show that you can be yourself and still be successful. That you don’t always have to conform to what you see on TV to gain some notoriety.  

The impact will hopefully be felt for generations to come.  And when the next generation feels like they’re down and out they can be reminded that Tim and Nay made the Comeback Of The Century and so can they.

Other Ways You Can Help

We understand that times are hard and that you might not feel comfortable giving some strangers your hard earned money.  Rest assured that you even reading this has helped our cause and for that we are grateful. If you believe in this campaign and want to help in some other ways you can:

Get the word out to your friends and family and make some noise about our campaign.

Show someone that you might think would be inspired by this story.

Help us go viral.

Tell people in power.

Tell school officials about our empowering goals.

Go to and purchase other music.






Like a bird of paradise, 5 Pointz presides over a bleak stretch of Queens, next to a railyard and between roads that lead deeper into ever bleaker Long Island. But the unexceptional surroundings only make this “Mecca of Graffiti” all the more astounding: five stories of mustard-colored walls entirely covered with what is tactfully known as “aerosol art.

”It’s a modern-day Guernica in Long Island City, as the neighborhood is called, except this art was made not in response to war but to the terror and promise of modern urban life. A black man in a hoodie looms at eye level, rendered in Seurat’s pointillism. You may see a likeness of Biggie Smalls or Van Gogh, samurai and buxom women, all painted by different taggers, all somehow coexisting in this fruitful chaos.

This plein air exhibit of street art is soon coming to an end, though; the building is to be demolished to make way for condominiums. When news of the City Council’s approval of the move came last week, NY’s Gothamistlamented, “Somewhere an empty can of spray paint has rolled into a gutter, dented and rattling no more.

”And somewhere else, maybe right down the block, Banksy is at it. By pure coincidence, the British street artist has chosen October for a month-long residency in New York, putting up one of his graffito (or, occasionally, a performative piece like a truck full of stuffed farm animals driven around the city) somewhere in the city each day. The confluence of the two events — the imminent destruction of 5Pointz and Banksy’s residency — have made graffiti the talk of New York again.


Graffiti is one of those intractable issues, like Middle Eastern politics: Everyone has an opinion, and everyone is right. The debate, which probably began when some Roman scrawled a filthy quip on a Coliseum wall,  still matters in the glass-and-steel New York of 2013, in which there are an estimated 6,000 “public-sector surveillance cameras” that may help in the identification and capture of illegal taggers (and perhaps a few terrorists).

Modern graffiti may have started as a response to urban blight, the emptying of cities in the postwar era and the absence of authority (all that empty wall space, all that free time). In its latest iteration, the form has been mastered by Banksy, a British artist whose real name is not known outside a small circle of associates. He has made a popular film, Exit Through the Gift Shop and his work has sold for hundreds of thousands of dollars, much to his chagrin, for Banksy prefers notoriety to fame. “Commercial success is a mark of failure for a graffiti artist,” he told the Village Voice.

And now he has come to New York for a project he calls “Better Out Than In.” Not everyone is pleased, least of all those who remember neighborhoods like the Lower East Side before the Olsen twins started hanging out at Sons of Essex, when unruly beards belonged not to hipsters but to Bowery bums. The Daily News  (where I was once an opinions editor ) welcomed Banksy to New  York by calling him “criminal” and  noting that the city spends some $2 million on graffiti clean-up each year.


But it is hard to argue that Banksy’s stenciled works are purely a nuisance. His first work here,  in Manhattan’s Chinatown, depicted a newsboy standing on the shoulders of another as he grasped for a spray paint can inside a sign that reads “Graffiti Is a Crime.” Later, a delivery truck became a “mobile garden,” in the words of Banksy’s website. That website prominently displays a quote from Cezanne: “All pictures painted inside, in the studio, will never be as good as those done outside.” Paul may have been talking about lily ponds and haystacks but, well, point taken

.And while some grouse at graffiti’s recrudescence, many have embraced Banksy’s maverick intention to turn whatever wall he wishes into an exhibit. A Banksy beaver appeared in East New York, a tough stretch of Brooklyn. Hipsters flocked to see the work, and some enterprising locals began charging people to look at it, hiding the beaver behind a cardboard box. That was a brilliant comment on the nature of art, its commodification, its ability to reach the masses. If Banksy didn’t put these guys up to the task, then he’d at least have a good laugh at the expense of the Gagosians of this world. Equally clever was the stall he set up in Central Park “selling 100% authentic original signed Banksy canvases. For $60 each.” The stall was watched over by an old man in a baseball cap, and the first customer bargained him down 50%. Take that, Mary Boone.

But while Banksy is being celebrated, 5Pointz is headed for demolition. The building’s owner, Jerry Wolkoff, has long allowed the graffiti elder statesman Jonathan Cohen — a native of the South Bronx who goes by Meres — to curate a sort of open-air exhibit of graffiti on 5Pointz’s outer walls (the name refers to the city’s five boroughs, as well as to the historic lower Manhattan neighborhood popularized by Gangs of New York). But you can’t just show up with a spray can and a dream; Cohen screens all applicants, making 5Pointz a gorgeously unruly group show. It stands only a couple hundred yards from PS 1, the Museum of Modern Art branch whose generally avant-garde works looks tame in comparison.

5 Pointz is being razed to make way for two buildings containing 1000 units. Wolkoff assures the city that there will be outdoor space for “aerosol art,” and there is no reason not to take him at his word. But graffiti is supposed to be transgressive, its illegality intrinsic to its artistry. Even 5 Pointz was a sort of compromise with authority. To paint graffiti in the shadows of condominium towers will only be more so.


As some struggling cities are being given over to the creative classes (Detroit welcomes hipster farmers and Baltimore dreams of being the next Portland) the artform that defined and was inspired by urban blight is becoming predictably tamed. Across the East River, at the Red Bull Gallery — yes, that Red Bull — in Chelsea, a show called “Write of Passage” opens this month. It is, according to organizer Mass Appeal, “a six-week educational program exploring the impact of American graffiti art on global culture.”  It will likely involve sitting in chairs and viewing slides, not vaulting over fences at Bronx rail yards to cover slumbering trains in tags.

The program is headed by Sacha Jenkins, a graffiti artist from Queens who recently told the New York Postthat Banksy’s tear across the city had not left him impressed: “I think with your blue-collar [graffiti artist], there’s not much respect for Banksy, because it’s not akin to what real graffiti is. And I’m sure there’s a bit of jealousy about the financial success he’s had.

”Are there still blue-collar taggers out there? Doubtlessly there are, scrawling whatever “real graffiti” may be. But their space is being threatened, while their work, if it is any good, is being commodified. While we may not all love graffiti, we know a marketing opportunity when we see one.



For Holiday 2013 OBEY collaborated with the legendary band Suicidal Tendencies. This year marks the 30th anniversary of their first record and OBEY wanted to put something together that reflected the influence Suicidal has had on Shepard and OBEY. (Make sure to read the text below from Shep on his introduction to the band and how it influenced him). They worked with Mike Muir, the founder of Suicidal Tendencies as well as two of the original artists responsible for the art behind the band. They used Ric Clayton’s work from Possessed To Skate and the original drawings from skateboarder Lance Mountain. The key for OBEY was to pay respect to the original work but put an OBEY twist to them, showing the heritage and legacy that the band and artists have created.