Hustle beats talent. So what happens when talent hustles?

Most producers have one sound and spend a career defending it. I have never worked like that. Put me in a room, tell me what it is supposed to feel like, and I will build it. I do not care what genre it lands in.

Fifteen years. I built PMV Studio in Chicagoland and ran it for five of them, twelve people on the roster and my name on every deadline. Before that I was on a production team with Soundtrakk, Prolyfic and 1120, engineering for Soundtrakk of FNF. I came up in rooms where the work had to be right the first time.

Then “Lakeside” went off. A guerrilla video, no budget, no crew, and it moved. FNF came with an offer. I took Retnuh instead, out of Tree Sound Studios. What followed was camps and sessions: J. Cole, Baby Rose, Mez, Lute, records with Elle Varner that never came out. I engineered vocal sessions for Buddy.

Day In The Life and Right To It both landed in Caught Up. Since then: a Tyler Perry series, television intros built on request, submissions through A&E Networks. I scored, co-wrote and starred in “Behind The Jamz: The Rise and Fall of Bumbah Clarke” for Sinnerverse TV, nominated for Best Comedy at the Las Vegas Black Film Festival.

I started in a group called Smoke & Cass, put out Sweet 16 and The Massacre, then dropped Framework on my own. Since then I have produced for other artists: Reggie VaShaun’s Riches EP, where I produced and featured, Drey Skonie, Blake Novia. I have scored a Peter Pan production for the stage and I produce Miles and Mya, a children’s series.

I also run STFU!, a Discord I built for creatives of all walks of life and all types. People come in, collab, enjoy each other’s work, and it builds toward meetups and real creative sessions. Twelve people worked under me at PMV and I liked that better than working alone. Rooms make records.

I build studios too. That is not a side thing. It is why I know what a record has to survive. Phone speakers. Car systems. Buried under dialogue. I write knowing where it ends up.