I’ve been a musician since I was six years old, so sharing music I believed in came naturally.
That instinct kicked in early when I started promoting my friends’ band, Incubus, in high school—playing their demos for classmates and plastering flyers in the parking lot. That grassroots hustle landed me an internship at their new label, Immortal Records, where I helped promote artists like Korn, 30 Seconds to Mars, and The Spawn Soundtrack.
I didn’t have a title, but I had drive—and that was enough.
Just Getting Started
My first real break came in 1997 when my entrepreneurial spirit landed me with the team managing Björk, where I led street campaigns for genre-defining acts like Moby, Underworld, The Crystal Method, and Soul Coughing. I wasn’t just executing tactics—I was helping to build a cultural movement. I was running club promotions, listening parties, tastemaker mailings, national and regional record release campaigns, and early versions of experiential marketing before anyone called it that.
Feeling ready for a new challenge, I connected with Raymond Roker—publisher of URB Magazine, the epicenter of underground hip-hop and electronic music culture in the U.S.—and soon became the publication’s first marketing executive.
I helped amplify the voices of artists who defined a generation—Jurassic 5, Pete Tong, Roni Size Reprazent, Sandra Collins, Paul Oakenfold, and Moby, —and brought that energy to life by producing large-scale events in Miami, New York, Las Vegas, and Los Angeles. I even produced the URB tent at the first two Coachella festivals, bringing together global dance culture under one desert sky.
Alongside my mentor and boss Josh Levine, I led the account team for the national launch of Toyota’s SCION—a groundbreaking campaign that helped a youth automotive giant authentically connect with underground music and street culture, paving the way for how brands engage with audiences today.
After a four-year run at URB, I joined David “Beno” Benveniste—manager to System of a Down, Deftones, Alice In Chains, Korn, AFI, and more—at his agency, StreetWise Concepts & Culture. What started as an account manager role quickly evolved into leading a 25-person team, as I took on broader creative and strategic responsibilities across both artist and corporate campaigns.
At StreetWise, I worked across a wide spectrum of industries—from gaming and music, to QSR, entertainment, and consumer research. I developed digital-first campaigns for Call of Duty, Guitar Hero, Tony Hawk Pro Skater, Paramount, Sony Pictures, ABC Television, Nielsen Research, Jack in the Box, Dairy Queen, Coca-Cola, and Sprite. I also began diving deep into data collection and audience research, shaping smarter, insight-driven strategies long before it became standard industry practice.
By the end of my run, I had risen to General Manager, and then Vice President of Marketing, helping turn bold creative into measurable, culture-shifting results.
Eventually, it was time to start my own studio.
In 2010, I launched NEWSCIENCE.
NEWSCIENCE is a creative studio specializing in brand storytelling and immersive, cross-platform content experiences.
Over the past 14 years, I’ve worked as a creative director and campaign producer for Ubisoft, Live Nation Entertainment, Universal Music Group, BOLD Capital Partners, Daversa Partners, Brooklyn Nets, Oakland Arena, and more—crafting trailers, soundtracks, and brand campaigns that landed in Rolling Stone, IGN, TechCrunch, and Variety. I’ve collaborated with icons like Chuck D., Rob Zombie, and Friday and Straight Outta Compton Director F. Gary Gray, and helped emerging brands punch way above their weight.
In 2021, my client Patrick Comer—who had just sold his company Lucid for $1.1 billion—asked me to join his next venture as Co-Founder and Creative Director of GRIPNR, a groundbreaking Web3 tabletop roleplaying game platform.
Our relationship began years earlier, when NEWSCIENCE orchestrated Lucid’s rebrand in 2014, laying the foundation for its evolution into a global data powerhouse. What started as a client relationship evolved into a creative partnership, where I led the brand vision for The Glimmering—a dark fantasy RPG built on DnD mechanics and featuring a generative collection of 47,000 hand-drawn playable heroes. We merged blockchain, lore, and gameplay to reimagine what play-to-own storytelling could look like for a new generation of tabletop gamers.
As of July 2025, GRIPNR 4X’d its player growth in the last six months, crossing the 2,000-player mark and shows no signs of slowing down.
And through it all, I’ve stayed wired to my roots as a musician.
As guitarist, songwriter, and producer for the band East of June, I’ve released music, directed videos, toured, built a fanbase, and kept the soul of creativity alive—on our own terms. Since 2019, we’ve released 18 singles, 1 studio EP, and 2 live EPs, racking up 30 million video views, 120,000 followers across social media, and press coverage in Guitar World, Alternative Press, and American Songwriter.
For us, it’s all about the music—no gimmicks, no chasing trends, just songs that feel right.
After 26 years of doing this at the highest level, I’m still driven by the same instinct: create something cool, make it unforgettable, and never play it safe. Whether it’s building a brand from scratch, crafting a campaign that cuts through the noise, producing content that actually moves people, or writing the next great song—this work still excites the hell out of me. I’ve worn a lot of hats: creative director, musician, designer, strategist, producer. But at my core, I’m a collaborator who lives to bring bold ideas to life.
If you’re a brand looking to stand out, an artist chasing a vision, an entrepreneur with a wild idea and nowhere to take it—or if you're interested in working with my band, East of June—reach out. We just might build something unforgettable, together.