Where to begin... well firstly we were just enjoying this portrait of the legendary Dr Dre taken in 1990 by Janette Beckman in this month's Esquire Magazine. Definitely follow Janette's blog HERE. She is always up to something amazing!
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Speaking of always up to something -- Brandon will head to the east coast next week to play several cities with Sons of The Sea. This is SO exciting because apart from TV appearances they haven't played venues as of yet since the album released a few months ago. We are looking forward to some of the west coast dates slated for February which we are able to attend - LA, San Fran at The Fillmore, etc.
And then in March BIG BIG news is that we are heading to Zurich, Switzerland where Brandon will be a part of Grafik 14 and will showcase art, have a book signing and a Q&A at the Design Museum there. Other European cities are current being scheduled so stay tuned! This will mark the first time Brandon's art has traveled outside of the US - a long time coming, but worth the wait!
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And lastly, drumroll please... we are in major planning mode for the ridiculously talented MOBY and his second photography exhibit, Innocents opening at PROJECT on February 21! Stay tuned for imagery, interviews and exciting tidbits in the near future. 
About Innocents in Moby's words:
nothing
happens quickly.
even
the things that happen quickly don't happen quickly.
a
volcano or an earthquake might seem spontaneous and violent, but they're
the
result of long and obscure processes.
the
apocalypse of 2012 happened in an instant, but it had begun, almost
tectonically, ages ago.
when an
ocean liner turns, it appears, for all the world, identical to how it appeared
before it's turning. but its new trajectory is a departure from its old,
and this
becomes
increasingly evident over time.
the
apocalypse of 2012 was with us, then it was upon us, and even now it's both a
part of our collective fabric and a representation of something disconcertingly
new.
everyone
has responded in their own way.
some with
an atavistic attachment to what they saw as their pre-apocalyptic, quotidian
lives; others with an emblematic representation of the paradoxically subtle and
dynamic changes.
'the cult
of the innocents', of course, fall into the latter category.
they first
appeared in the seconds after the apocalypse, when the eschatological dust was
still settling, bringing with them their silence and their shame, as
represented in sacrifice and concealment.
this was
their best response to the changes that they observed and felt but only
understood in the most basic and subjective ways.
'clearly
we've brought this upon ourselves', seemed to be their mute proclamation, 'and
we shall stand hidden, as testament to our shame at what we are and what we've
been.'
it goes
without saying that the sacrifices in the hills created and attracted a lot of
global media attention. in this show, however, we've chosen to
underrepresent the more
sensationalistic
aspects of the 'cult of the innocents', instead focusing on their mute and
somber penitence.
-moby
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