I moved to Seattle in the early ’90s to work as a biochemist. But, my passions laid within music, art and street culture. I grew up in London during the halcyon days of club and rave culture and that had a big influence on how I perceived music and art and its impact on popular culture. It was this passion coupled with a chance meeting with my former partners that led me to walk away from my career in science and pursue my artistic entrepreneurial talents

​

In the early 90’s, Seattle music culture was still enveloped in the “grunge” music scene that it had given birth to. My partners and I envisioned the next cultural landscape as one founded on electronic music and subsequently started producing club nights at local venues and vacant warehouses spaces with world renowned electronic acts. Our productions were infamous because we created a totally immersive audio-visual experience by collaborating with emerging street and digital artists, sound engineers and cutting edge DJ's. I was the musical curator, DJ and tastemaker for the collective that we called Tasty Shows. My career as a club DJ in addition to my weekly syndicated radio show made me an internationally renowned DJ. My sonic storytelling skills caught the attention of brands like Armani, The Standard Hotel and Nordstrom to name a few tapped me to  produce compilation lifestyle branded CD's for them. I also started a record label called  Sweet Mother Recording, through the label I signed and produced local Seattle electronic artists which helped develop the local electronic music and arts community. A new “cultural electronica” scene was beginning to emerge in Seattle. Inspired by the Grunge and Sub Pop DIY aesthetic, fueled by the growing global electronic music movement that I and my partners were introducing to Seattle and in conjunction with the rise of the tech industry and the talent it attracted. The precursors for the city that Seattle has become known for today.  

  

It was during Neverstop's early years that we coined the word

Cultural Engineers to describe the type of people that worked at our agency no matter what their special area of expertise

 

It was in the mid 90's that my partners and I started a cultural marketing agency called Neverstop. It was an organic extension of the creative culture that we were a part of. Soon to be clients such as Wieden and Kennedy and Nike attended our immersive shows and understood the impact of the holistic experience that we were creating and our connection to cultural creatives around the world. They tasked us to create some of the initial culturally relevant brand moments that garnered a lot of impact and visibility for them and us. It was also during Neverstop’s early years that we coined the term Cultural Engineers to describe the type of people that worked at our agency no matter what their special area of expertise. 

​

"Cultural Engineers use the cultural zeitgeist of the time

to create powerful messages for their clients."

​

It was this approach of identifying relevant cultural trends and the mash-up between music, art, and technology together with collaborations on special projects with the likes of KAWS and Shepherd Fairy that attracted many more brands, towards Neverstop. They saw the potential of authentic cultural brand storytelling that Neverstop created and how the “cool factor” halo effect could help elevate their brand in the cultural lexicon. 

​

In September of 2013, I, as then the sole owner of Neverstop sold it to a holding company. Music and culture are still my passion and I always strive to authentically connect brands with the community they aspire to be a part of. 

 

     AWARDS

​

Winner as the Executive Producer for Neverstop at the Clio 2006 awards for the
Flip to Mexico Super Bowl TV spots for Frontier Airlines.
 

Winner of the Puget Sound and Northwest  ADDY Awards for best Non Traditional Campaign.
Cricket Wireless/Samsung World's Largest Cell Phone Pop-Up Store.
 

Winner Promo Awards 2010 Best Mobile Marketing Campaign. World's Largest Cell Phone.
 

Bronze Cannes Lion winner 2008 for Credo Text to Projection Campaign.
 

Winner The Puget Sound Addy Awards for Non-Traditional Advertising Single Campaign for
Ranger Rover and Architectural Digest.