I build worlds that turn attention into culture.

Baby Osamaa had a vast image bank and a clear instinct for what felt like her. I edited those instincts into a usable creative strategy, then commissioned the right people and carried the system through every release and audience touchpoint.

• Project narrative and visual world-building
• Cover art and complete release package
• Video concepts, videographer selection and production
• Custom doll concept and maker commissioning
• DSP, editorial and distribution-partner positioning
• Deluxe rollout and headline live experience

Across our work together, I A&R’d and creative-directed Baby Osamaa’s first three projects, building the music, image, release and audience systems around her instincts. The documented audience grew from 8,329 to 198,874 across Instagram, YouTube, TikTok, Spotify and SoundCloud by management completion, with early Cavity development becoming a Roc Nation partnership.

• Creative campaign development
• Wheat-paste campaign sourcing and execution
• Release strategy and rollout planning
• Cover and supporting assets with the Tive team
• Press strategy and editorial outreach

Osamaa wanted to do something that stood out and came in with the seed of an idea. I brought in The Wiz as the organizing concept and connected the dots, developing the performance as a contemporary Emerald City: the room and monochromatic Telfar wardrobe changed color from song to song. I built the strategy, secured the Telfar partnership and coordinated the looks through production.

Design assets were developed with Malcolm Ransome and produced with the Tive team. Street media, artist channels, the performance activation, DSP support and editorial coverage all carried one campaign language.

I translated her relationship with the film into an artist identity: not simply a project named after Tank Girl, but a declaration that she was the Tank Girl now.

I directed one illustrated world across the cover, tracklist, supporting assets, banners, social motion, GIPHY and platform packaging.

I found and A&R’d five of the eight beats on the project, locking in the production that gave the Tank Girl world its musical foundation.

Malcolm Ransome drew the cover and supporting assets under my creative direction. I also handled the press strategy that placed the world with No Bells and Half Moon BK.

I creative directed the project and its complete rollout, expanding the music into a recognizable artist world with cover art, motion, merchandise and narrative artifacts rather than treating one asset as the finish line.

I created the Angelic America cover art, then creative directed and developed the comic with Malcolm Ransome ↗. The cover, tracklisting motion and comic made the world legible across release and story.

Spinning shirts, the sweatshirt, keychains and the comic gave the audience physical entry points into the project. The system established the foundation for the Pasto work that followed.

• Artist development and creative direction
• Styling and editorial collaboration
• Cover, tracklist and full release asset system
• Merchandise and physical campaign objects
• Rollout continuity across every touchpoint

“Prepared for the Apocalypse” carried the release world into Office Magazine with Yu.Lez, placing Pasto inside a larger fashion and culture conversation.

I partnered with Yu.Lez across the full rollout to bring the Disturbing The Peace world to life, carrying one visual language through the cover, tracklist, booklet, photography, styling, editorial and merchandise.

I directed all tour assets for Pasto’s 2021 dates supporting LUCKI, carrying the Disturbing The Peace artist language across the multi-city live run.

I shaped the project identity and full rollout so the cover, platform assets and campaign language moved as one recognizable release.

Malcolm Ransome drew the #TWLG cover and the My Fault and Mhm Mhm single covers under my creative direction, extending one illustrated language across the project and its singles.

I brought the release party together at Sneakersnstuff, translating the project world into the room through creative direction, programming and production.

The same visual and cultural logic carried from the first audience touchpoint through the live launch—release strategy made tangible.

I independently creative directed the R2 cover art and commissioned the artist who executed it.

The warped portrait treatment brings both artists into one high-pressure visual world while keeping the collaboration legible at platform scale.

I worked with Pasto to get the R2 video shot by Qasquiat ↗ and released through WorldStarHipHop.

I styled the shoot and shaped the visual framing around Pasto for Sneakersnstuff in collaboration with Yu.Lez.

Portraits, footwear moments and layered collage balanced product visibility with a clear artist point of view.

The resulting sequence positioned Pasto within Sneakersnstuff’s editorial platform without flattening the identity already being built around the music.

Commissioned and creative directed by BRAZZ.

Commissioned by BRAZZ.

Both videos were commissioned and styled by BRAZZ, extending the same artist language through casting, wardrobe and performance.

Mario was already acclaimed for producing records for other artists. DEMO TAPE introduced him as the solo artist at the center of his own world, making the positioning, language and first audience experience especially important.

• Cover art and visual identity
• Campaign planning and rollout
• Editorial, DSP and playlist positioning
• Live concept and production
• Photographer and video-team commissioning

Ellen Lee created the complete press-portrait set that introduced Mario’s new chapter. Colin Padulo documented Gary’s Electric, photographing the performance, ensemble and audience as one live world.

The event cover, campaign flyer, photography and complete performance film carry the project from release object to a fully realized room.

I co-founded Nocturne alongside Daine, established its positioning and brought on my createTIVE team to build the identity and platform language.

• Brand strategy and identity
• Visual world and logo direction
• Live-show concepts and narrative
• Audience experience
• Discord and community language

Charli XCX, Oklou, Ethel Cain, LAN Party, ericdoa, Glasear, 8485, Alice Gas, Ezekiel, Hyd, Ayegy, Wicca Phase Springs Eternal, blackwinterwells, Dazegxd, Shrimp, That Kid, Angelus, midwxst, Hannah Diamond and John MacLane.

I worked with Malcolm Ransome across the Nocturne design system, translating the metal moth into a flexible identity for social, community and live touchpoints. For the e-festival, I worked with Lake Len ↗, who handled all video editing.

I built the world around LAN Party’s existing energy with Malcolm before release, shaping the project story, booklet structure, identity language and rollout plan.

Malcolm translated that world into the complete booklet and campaign design system under my creative direction.

I worked with RURU ↗ to develop Lanita as the project’s character, then extended her into the official online visualizer so the illustrated world could live in motion.

I produced, creative directed and styled the Caspr Office Magazine story in collaboration with Yu.Lez.

I commissioned LONEWOLF for the Duct Tape Lips music video and carried the Caspr visual world from editorial into motion.

The on-set film photography makes the commission visible in process: direction, styling and performance being built around the artist in real time.

I styled ALDN and the full band for the music video.

The styling was treated as an ensemble system: artist, band and performance environment needed to feel authored together.

The full released film is embedded as the primary asset so the work can be evaluated in motion.

Co-Creative Director and coordinator for the first Marino Infantry skate tape. I also found the majority of the skaters who formed the film’s on-screen team.

The film fused the skate team, product, soundtrack and emerging brand language into one authored cultural statement.

I found videographer Zev Flores for the project. He shot and edited the first film, giving the team’s raw energy a coherent screen language.

Creative Director for the second Marino Infantry skate tape.

The second film continued the identity established by Tape 01 while giving the team a larger visual stage.

I brought Zev Flores back as one of the camera contributors for Tape II. Additional videographers contributed footage, and Yoga shaped the complete film in the edit.

I created the format and brought Dirty Magazine on board. Together, Cavity and Dirty Magazine opened the night with a 30-minute community trailer block before Ralph Bakshi’s Coonskin at Stuart Cinema.

The illustrated event artwork was drawn by Malcolm Ransome and creative directed by BRAZZ.

We extended the Coonskin screening into a limited event shirt, carrying the film conversation beyond the cinema and giving the audience a physical piece of the first edition.

More than 100 people RSVP’d and every seat was filled, proving demand for a community-curated film format.

Cavity, Dirty Magazine and Uncensored New York presented Kansas Bowling’s Cuddly Toys at Williamsburg Cinemas with a second community trailer block.

I secured Guayakí Yerba Mate, Ten To One Rum, Liquid Death and JuneShine, then carried those partnerships through the bar, gift bags and event environment.

Malcolm Ransome drew the second-edition artwork under my creative direction. I carried that identity through the cinema, program, hospitality and sponsor experience.

Concept, creative direction, programming and event production by BRAZZ through Cavity.

I came up with the disruptive idea of making the show Pay What You Want, lowering the barrier to entry while letting the audience assign value to the experience.

I developed the visual idea from references and examples, then brought Malcolm Ransome ↗ in to hand-draw the final campaign artwork.

Pasto Flocco, DJ Rennessy, Dee Aura, Rain1, Six Bill, BeastBoyBPD and Garett Caramel.

Eight episodes designed as cultural documentation and discovery infrastructure.

Moh Baretta, Xaviersobased, DJ Phat, Nick Blanco, Maajins, Dazegxd and Nettspend.

I developed the concept, commissioned and executive produced the platform through Cavity, worked with Malcolm Ransome ↗ on the visual assets and with Lake Len ↗ on the editing.