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Animating Records and Putting Your Spin on Art, with Drew Tetz

Animating Records and Putting Your Spin on Art, with Drew Tetz

A true hyper-creative who knows no bounds, Drew Tetz is a trained graphic designer, a one-time professional Yoyoer, and now a widely celebrated vinyl record animator. Using his spin on the early motion picture tool, the phenakistoscope, Drew has even animated records for some of his musical heroes, like the band Bright Eyes. Listen to this episode to hear Drew “nerd out” and “shout out” to the creators and innovations throughout history that have inspired his work.

Read the episode transcript below.



Michelle Khouri  0:00  

Motion, movement, and art. Those are the three things that Drew Tetz brings us on this episode of The Cultured Podcast. Welcome to The Cultured Podcast. I’m your host, Michelle Khouri. And together, we’ll journey into the unknown reaches of the art world. Hello, my babies! (singing) You spin me right round, baby right round, like a wreck of baby (record scratching sounds) and that moment fully is Drew Tetz’ fault You can blame him for it. Because everything he does spins me right round. He does yo-yo, performs yo-yo, is a master of yo-yo. And also his art form that we’re talking about today, among others, so stay tuned, is creating these graphics that he puts on vinyl records that when they spin, create actual motion, so they become animated graphics, due to the spinning of the vinyl record. Yeah, it is just as cool, if not cooler, than it sounds, so you’re definitely going to need to check out his art as we’re talking, highly recommend it. His name is Drew Tetz. So find him on Instagram so that you can see what we’re talking about and let it come to life as we’re having this conversation. But first, Happy New Year. Oh my god. I’ll be honest with you. I’m recording this in 2020. So this is, like, my way of time traveling. This moment, this inspiration is time traveled. What is even happening in January 2021? I don’t know. I can’t even fathom that back over here in 2020. Like, where I’m sitting, the world might be over. But it’s not. I know it’s not because we have overcome. And we have continued on as a species in way harder times, I hope. But truly, wherever you’re sitting right now in 2021, Happy New Year. Thank you for continuing to be on this culture journey with me. No matter what is happening, let me tell you something, it’s going to be okay. It’s going to be okay in one form or another. And that is not toxic positivity, my friends, that is reality. We always pick ourselves up and dust ourselves off and continue. And of course, it is our own choice to not do that, and to wallow in despair and to sink into despair and to relent and to succumb. But you know what, we’re not going to do? Any of those things. We are the Cultured Crew. We find beauty and inspiration in every thing. And let me tell you, everything has a silver lining. Trust. And yes, for those who are asking, I am a natural optimist, but I am a realistic optimist. That’s the Virgo brain. Even the worst things can lead to positive things. Truly. I mean, I see those connections. And I see those all around us. And listen, everything that has happened in 2020 has needed to happen. We needed to stop ignoring everything that has been accumulating for thousands of years. This is not a surprise, the warning signs have been there. And so now it’s time for us to face this moment, to face what we have done over the past thousands of years so that we can actually heal it. You can’t heal what you don’t face, even in meditative practice, in energy healing, in therapy. The first thing is to face what you’ve done, what you fear, what you’re afraid of, your traumas, what you’re avoiding. You have to face it in order to overcome it. That’s my tangential way of saying, I see a silver lining in everything that’s happened. It’s been hard. It’s been hard AF. Okay, like it’s not been easy for me either. But here we are, it is 2021 where you are. But wherever you are, I hope you’re doing okay. And I hope that even if you weren’t doing okay, which is okay, that this episode makes you feel better. And that my voice and our relationship and The Cultured Podcast at least adds a tiny little glimmer of joy to your day. I love you. Happy New Year. We gonna be okay. Let’s do this. Let’s talk to Drew. Let’s spin.

Hello, Drew. Welcome to The Cultured Podcast.

Drew Tetz  4:52  

Hey, thank you for having me. I’m really excited to talk with you today.

Michelle Khouri  4:55  

I’m so excited. I am actually a new fan of yours. I started following you, like, pretty recently. And I’m just absolutely in awe of your creativity, just the worlds that you bring to life and also like this nostalgia that you play with. But before we get too far ahead of ourselves, why don’t you just give us a level set moment and tell us who you are and what your art form is?

Drew Tetz  5:20  

Well, well, thank you for the kind words. My name is Drew Tetz. I am a graphic designer/artist/animator. And I have this really awesome niche, awesome for me at least, which is basically animated records. It’s actually the very first animation format or Motion Picture format of all, which is a zoetrope and applies it to a vinyl record. So when you watch it through your camera phone, you can see this little one-second cartoon loop and it gets really trippy really quick.

Michelle Khouri  5:49  

Oh, yes, it does. And, honestly, I just love any art form that pulls me out of the humdrum every day, you know? This reality, which is actually pretty trippy, if we pull ourselves far back enough, like this reality we live in that we take for very normal and for granted, but anything that pulls me out of the things that I’m used to, and reminds me of the diversity of experiences that we can have. And I love a psychedelic and it reminds me of psychedelics. 

Drew Tetz  6:19  


Michelle Khouri  6:19  

So that makes me happy. So, your art brings a lot of joy, which is pretty exciting.

Drew Tetz  6:27  

Yeah. Well, you know, that’s what a lot of people say about collecting records. 

Michelle Khouri  6:32  


Drew Tetz  6:32  

As you know, it’s the nature of the hunt. You’re looking for treasure. When you find that, you know, beautiful thing that you love, you put it on the turntable, and then you’re locked in for you know, 15 to 30 minutes. You’re going to experience that record.

Michelle Khouri  6:45  

Laying on the floor. Taking it in.

Drew Tetz  6:48  

Yeah, if I can add another layer to that I’m very happy. And it’s very nice to be able, personally, to connect a visual to that auditory and sensory experience I’ve always been after.

Michelle Khouri  7:01  

With some artists that come on the show, I kind of skip the introductory, how did you get into this, but with you, I feel like that is a necessary. Because this is not just something like you? Well, maybe it is something you stumble into, maybe that’s the only way to get into it. But I want to understand like your journey, where you started as an artist and how it brought you to where you are today. 

Drew Tetz  7:24  

No, you’re totally right. It is a super weird niche. And it is actually, kind of, the latest in a long series of weird niches. I had a pretty, pretty normal artistic upbringing. I went to undergrad for graphic design, which is great. I worked a little bit as a graphic designer, but I also kind of had the secret double life as a professional Yoyoer, which, as I said, long series of weird niche. But it was great. Because it’s like, you know, you don’t know too many professional Yoyoers. So I automatically had this party trick.

Michelle Khouri  7:57  

You’re my first professional Yoyo friend.

Drew Tetz  7:59  

Yeah, so I could be terrible. And I would still probably be the best you had ever seen. So as a young artist, that’s good for giving you confidence. 

Michelle Khouri  8:08  


Drew Tetz  8:08  

And it was good, because it kind of gave me experience in a very small pond to try out weird art stuff. And it also made me some lifelong friends. Like, you know, I have a couch the crash on in Osaka if I need to. So…

Michelle Khouri  8:21  

That’s amazing.

Drew Tetz  8:22  

Shout out to all the weird tiny nerd groups around the world, making that kind of stuff happen. 

Michelle Khouri  8:27  

Shout out. 

Drew Tetz  8:27  

But as you can imagine, that’s not really a solid career move. So I did a lot of video editing and stuff, which is great. But all in the background, I was trying to work on these weird little art ideas I had. And at one point of my professional Yoyoer friends, he won the World Yoyo contest, and he’s like, “Hey, man, I got like 3000 bucks. What are we gonna do with this? Like, I want to do something cool.” I was like, “Okay, cool. Weird that you trust me with that. But yeah, let’s buy a laser cutter. Because at the time, I was like, you know, it wasn’t new technology, but it was the first time that you could get one for 3000 bucks. And I was like, yeah, I want to make toys with lasers. Let’s figure that out.

Michelle Khouri  9:07  

Oh, wow. So it was like what 3d printing became, which was like…

Drew Tetz  9:12  


Michelle Khouri  9:12  

I don’t really know how to use this, but I know I’m gonna do something cool with it. 

Drew Tetz  9:16  

Yeah, a little bit. And I’m taking the very long way there. So thank you for indulging me on the story. But basically, at some point, he had to move to Prague. He had this laser and was like, do you want to babysit the laser for me? And I’m like, “Excuse me? To do what?” You know, I’m not going to ever have the chance to have a beam of focused lights to just make weird stuff with ever again. So yeah, I don’t know exactly where I’m going to put it in my apartment. But yeah, let’s figure that out. And I was just trying to make the most of this weird new tool, do everything I could with it. And at some point, I was like, oh, it would be so awesome if I just like took a filmstrip of, like, a movie reel and I exported all the frames as, like, halftone dot laser engraves and then I could have like a wood movie. And in my head, it looks so cool. And it took so long to burn it and to film it and get it lined up. And then when I watched it, it looked terrible. It looks like a cheesy Photoshop filter on top of like a bad VHS copy. And I was so blown, but I was like, I’m not going to give up on the idea of making like a wooden animation. I want to. You know, I have this tool, what can I do with it? So I was looking at weird like old school analog animation stuff that, like, actually predates, you know, film reels, and projectors and all that. And it turns out the very first Motion Picture format, even before like a flipbook, which always blows my mind, because I mean, I made flip books in my algebra textbook, just flipping the pages making stickman move. That’s so intuitive. 

Michelle Khouri  10:45  


Drew Tetz  10:46  

But it turns out some guy in the 1800s was like, “Okay, now actually, what I’m going to do, I’m going to put 16 images around a wheel. I’m going to put a little carousel on the edge so when you spin it, it flickers, and you see it moving. How he did that I have no clue. That is very, very many generations of galaxy brain beyond me, but thank you Eadweard Muybridge.

Like, um, the history of film thing we’ve all seen with the horse.

Yeah it actually is. It’s the same dude Eadweard Muybridge. There’s a little bit of, I don’t want to, you know, flatten out photo history too much, but yeah, he was the first one who did the the running horse that you’re talking about.

Michelle Khouri  11:26  

Oh my God. 

Drew Tetz  11:27  

Edward Muybridge came up with all these really cool Victorian things along with a lot of other photo innovators and inventors.

Michelle Khouri  11:34  

And also, like, pretty, like, amazing names. We don’t name as creatively as we used to. A zoetrope? Like, that’s a dope name.

Drew Tetz  11:41  

To that point, there’s this weird thing where it was like, you know, the Victorian age and these are basically parlor tricks and they want to make them sound like really scientific slash kind of, like foreign and exciting. 

Michelle Khouri  11:51  


Drew Tetz  11:52  

So they’re like the zoetrope, the praxinoscope, the phénakisticope. And they’re all basically the same thing. It’s fine, though. They are cool names.

Michelle Khouri  12:00  

Super cool. Okay, so you started experimenting?

Drew Tetz  12:05  

Yeah. So after looking into how they did it back then I thought, well, I don’t know how to build a carousel, but I know how to lay things out in a circle, engrave it on a desk, and then I have a record player. And I could probably fake the flicker with the shutter speed of a camera. And there are definitely, like, plenty of people who have figured this out before me. I’m by no means the first person to make a record-mounted zoetrope, so shout out to Sculpture and DJ food and whoever it was that did the phonotrope, I forget. But lots of brilliant people. I’ve mostly came to that after the fact. So I will give myself a little bit of credit for being dumb enough to brute force my way into the math. And just be like, yeah. 16 frames…I don’t know, I can just play with the pitch slider until it speeds up enough to kind of look good on camera. And it did. I, kind of, lucked out on my first go, which is good, because who knows what would have happened if I got it totally wrong and was like, ah, this is dumb. I’m over it. But it’s been four years of obsessive record spinning since then. 

Michelle Khouri  13:09  

And it sounds like well, first of all, since we’re doing shout outs, a shout out to perseverance. And also, like, we always talk about as artists, or creatives really, let’s talk about creatives, creatives often want to try a new art form or embark on a new endeavor. And I think what separates those who eventually turn that into a steady art form or even revenue stream even a career, with those who don’t, is giving up and expecting to be good at something right off the bat. I think we all suck at the things we’ve never done before. And it’s a matter of, like, getting up and trying again and trying again. And then all of a sudden one day you look back and you’re good at something that you used to suck at. So shout out to your perseverance and to being okay with being bad at something at first and keeping it going. 

Drew Tetz  14:04  

Yeah. I definitely think that the stubborn willpower will always defeat the perfectionist. 

Michelle Khouri  14:09  


Drew Tetz  14:10  

So I have some friends who are so brilliant, but they’re never quite ready to let an idea onto the world. So they think about it way too much. And it’s great, I love them. And when they do release one piece of work a year, I love it. But compared to some of my friends who are just like, possessed with this desire to create.


And they wake up in the morning, they write three punk songs and two and a half of them are bad. But by the end of the month, they have like an EP and I’m like, “Oh my god.” 


Where do you find the energy? As you said, shout out to those possessed to create. 

Michelle Khouri  14:42  

Shout out. I think people who are not prone to those sort of like obsessive spells they don’t quite understand and they think it’s unhealthy. And I think it’s one of the most amazing, sort of, like, ethereal magical states to be in. You know, because you’re like so connected to the work, you can’t think about anything else,

Drew Tetz  15:05  

It definitely looks a little bit manic from the outside.

Michelle Khouri  15:07  

For sure. 

Drew Tetz  15:08  

Specifically, when I was working on that datalist video, my wife likes to tell the story where I had been up for 23 hours or something like that. I was sitting on the couch with my laptop, and I was just like clicking frame by frame through this video of a dachshund playing the piano. Because I wanted to get the perfect loop so it looked like he was you know, playing it on loop and would sync with the music. But to her eyes I’m just on the couch like a zombie. You know, like, eyes super bloodshot. Just tapping watching this dog on repeat. And she’s like, that’s…”Hey, babe. You okay? You need to, uh, you’ve been writing down a lot of numbers in your notebooks and watching dogs on repeat. Is this cool?” And it was cool. It worked out fine, but I understand her concern.

Michelle Khouri  15:51  

Fine line between Howard Hughes and Michelangelo.

Drew Tetz  15:57  

It’s right there. Yeah.

Michelle Khouri  16:00  

No, that’s amazing. Six months in, because you were hyperspeed through the obsession period of, like, repeating the action and getting better and better and better. You know, your work varies so much in the imagery that you pull on. The finished products feel constantly experimental to me, like the energy of all of your work feels so playful and curious and inquisitive and experimental. It just feels like you’re constantly like, I wonder what would happened if…you know? And so talk to us a little bit about the energy, what it’s like for you to start on a new project, including commission work, maybe it’s different between personal and commission.

Drew Tetz  16:44  

Yeah, well, lately, I have been very lucky as to be able to do a lot of commission work. And my schedule these days is mostly filled by that, which is great.

Michelle Khouri  16:53  


Drew Tetz  16:53  

And I’m so grateful for that. Yeah, thank you. Like you said, you know, when I’m working for someone else, they probably, especially with like the album stuff, they usually come to me with, you know, at least an album cover in mind, and maybe some other assets. And it is really, really cool how much they trust me and are kind of like, “Go nuts.” I would say that is the overwhelming majority are just like, “Yeah, man, this is kind of the vibe we’re going for, but whatever you want to do is cool.” Which I love about working with other artists. It’s super awesome to have that collaborative spirit. 

Michelle Khouri  17:25  


Drew Tetz  17:26  

But at the same time, I am a graphic designer by trade. So I love a style sheet. Like I love saying, I love not having to pick a font, because they have one established. I love when they have a color palette, and I’m like, yep, this is what we need to do next. That is awesome.

Michelle Khouri  17:41  

That saves so much time.

Drew Tetz  17:43  

Yeah, I can build into the world and fill it out. So I don’t feel like it’s compromising my vision at all, just feels like I get a really cool chance to kind of communicate with the music and the visuals that they’ve established, and maybe add my voice just a little bit by complementing what they’ve done. which for me is, you know, I think it’s awesome. Just because I’m a big ol’ music nerd.

Michelle Khouri  18:03  

Yeah. What is your process of trying to find that vibe for each record?

Drew Tetz  18:08  

It kind of varies a little bit. I would say the ideal is when I get to work directly with the artist, and they can actually be like, you know, these are kind of the songs we’re working on. You know, my friend painted this for the cover, or, you know, this is what the back cover is going to look like. Because that way I can actually talk to them and be like, “Okay, I think this piece is great. We could do this with this.” You know, I don’t try to get too technical with them, or make them into a storyboard artist. Because the animation process is really weird. I don’t want to overwhelm them with too many options. But it is really cool to be like, this is what I’m thinking, what do you think of this sketch? And they can be like, “Yeah, that’s awesome.” Or “What if we try this?” And that back and forth, oftentimes, leads to the most creative stuff. A lot of the times I’m joining kind of late on the project, especially with bigger bands. And in that case, usually their manager or the creative director for the project will send me a big packet of everything they have ready and they’re just like, whatever you got, as long as it fits this, we’re good, which is fun, because I get to kind of sit back and sketch and it’s a little bit more free. But I also like the more collaborative angle a bit myself.

Michelle Khouri  19:16  

Do you ever just sit there and like, get stoned and listen to the album over and over again?

Drew Tetz  19:23  

Well, that is an incriminating practice. But certainly the putting an album on loop is something that has followed me since teenage days. So the fact that it can actually enter the artistic process as more than just a background meditative thing, but an actual active part of the brainstorming process. That is very close. 

Michelle Khouri  19:41  

That’s so well put. Okay, so let’s bring this on back to you. You know, earlier you had said the animation process is super weird. 

Drew Tetz  19:49  

Oh yeah.

Michelle Khouri  19:50  

So talk about what’s so weird about the animation process. 

Drew Tetz  19:54  

I once again have a little bit of an easier time of it, because a lot of times I’m starting from a good source material. I’m going to use just a recent example because I think it’s one of the easiest ways for me to talk through it. This band, Eels, they have an album coming out. And for their seven inch singles, they had these kind of Hanna Barbera style drawings of, one was the baby in like a detective hat, like a Sherlock Holmes kind of suit. And the other one was a baby smoking a cigar.

Michelle Khouri  20:20  

So Hanna-Barbera.

Drew Tetz  20:21  

Yeah they were new illustrations, but they’re very great and true to the source material. So what I did was they gave me a really high rez copy of the illustration, I went into Photoshop, and I separated all of it into the layers that I thought would move. So you know, left leg, right leg, his hand with the magnifying glass, and then his head. And then his body was another piece. So I have this kind of paper doll cut out, sort of. From there, I can go into After Effects, which is another Adobe program, I usually use for motion graphics. And I can really just, it’s really cool, because it’s basically just Photoshop with time, it really takes out the intimidation factor of animation.

Michelle Khouri  21:04  

Oh, wow, very cool. That’s a great way to describe it.

Drew Tetz  21:07  

Oh, my God, I love computers.

Michelle Khouri  21:10  

For real.

Drew Tetz  21:10  

I love being able to just say I want this foot to be here at this time, and then go back here by this time. 

Michelle Khouri  21:16  


Drew Tetz  21:17  

It really is kind of just like making paper dolls play. And then there’s like a few other things. So you can make it move a little more realistically, in that in that case, that’s a that’s a good example of what the before animation process looks like. 

Yeah, then in terms of actually getting that onto the record, there’s a little bit of math, fortunately, I did it all four years ago. So I don’t ever have to do math again. Knock on wood. You take the the number of frames that will sync up with the RPM of the record. So for 45, which these were, it’s 40 frames. And just to not to drill down too much in the science, but it’s like, since you’re filming with a 30 frames a second shutter, it syncs up with a 45 rpm. So each of those 40 frames looks like it’s held in place. It just creates the illusion of motion, kind of like when you’re looking out the window at a car on the highway. And it looks like the wheels are spinning backwards. Or if you’ve ever seen a helicopter on film that looks like the the blades aren’t rotating, like that can’t be good. 

Michelle Khouri  22:16  

Can’t be good. 

Drew Tetz  22:17  

Same basic principle. Anyways, since I know how many frames I need, what I do from there is I export it into a filmstrip. So all the frames in a row. And I use Photoshop to bend that into a circle. So I got this really awesome solid foam strip loop. And when you spend that at 45 RPM, you get it. There’s definitely a lot of post-processing. It’s not so much of a secret sauce, I’d be happy to share it. But it’s so nerdy that it wouldn’t even make sense. But I get a lot of joy at the post-processing stage where I do things like adding frames to make it look like it’s spinning forward and backwards. Or overlaying loops on top of each other. So it looks like they’re kind of spiraling or chasing each other in a circle. These things are really cool to me, because they’re the sort of things you can only do with this BDM. You could fake it in After Effects, but it would take more time than just actually making yourself a physical copy. 

Michelle Khouri  23:08  


Drew Tetz  23:09  

So it’s fun. That’s the part where I actually get to play around and, kind of, do little things that most people won’t notice or care about. But I’m like, “Yes, I did such a good job with the dynamic spin on this one.”  So that’s that’s why I always get to keep growing, which is fun.

Michelle Khouri  23:25  

What is the adhesion? I guess process? Like because I know that you toy with? I think, correct me if I’m wrong etching and 3d printing and adhesion. Right?

Drew Tetz  23:40  

Yeah. Well, just like a normal label. Yeah, so like just normal printing. Yeah. Um, that is definitely one of the things that I love the most just getting to play with scale and all these weird formats, because, don’t get me wrong. I love the four inch label on the 12 inch record. That’s like an iconic design to me. I love any opportunity I get to put something on on wax. That feels so cool to me. But at the same time, my buddy Glowtronics they’re really awesome print shop that does a bunch of slipmats. So 12 inch felt mats that go on records. So I’m constantly trying to, like, tell labels like hey, but also what if you let me do something, you know, 12 inch full color? Because that…it’s just awesome. 

Michelle Khouri  24:22  


Drew Tetz  24:23  

It’s always gonna be bigger, if it’s cooler. You know, it’s it’s big. You actually get to like, look at it, hold it up. You can sew it on the back of your jacket, if you don’t have a record player. Just like goofy stuff like that. I’m like, “Yeah, that’s cool.” I just want to do it everywhere I can. 

Michelle Khouri  24:37  


Drew Tetz  24:38  

And and to that point, like you said about the etching. Recently, I got to do something on the new Bright Eyes record which was a big time lifehammer for me. But it was also cool because it was basically they had enough music for sides A, B and C. But the fourth they left open for just an etching. So it was the same processes as when they stamped the sound into the record but instead of sampling that audio data, they stamp in a visual. So a lot of times you do this, like they do really cool line art. But for me, what I got to do is I got to work with the artist who did the cover art, again, a very cool honor for me as a lifelong fan of Bright Eyes and take his kind of stick figure design, and we were able to work out this really cool falling animation that he sort of creative supervised. And I sent him the sketches and animation for it. And we worked through them into this sort of like almost mandola looking spiral out of the center. And it’s really cool because a lot of people probably just think it’s, you know, an art piece that complements the cover of the record, which it is. But at the same time the people who are going to put it on their their turntable watch the strobe, they’re gonna get their minds blown. So that’s really cool.

Michelle Khouri  25:45  

Oh, Dang! And you got ahead of the last thing that I wanted to say, which was that there are some huge Bright Eyes fans on this team, on the Culture Team. So Malika who edits this, is like, who she was dying to hear about this. Becca, who is our associate producer is like one of your biggest fans at this point. And she’s like, a huge Bright Eyes fan. And so as Jessica. So huge fans, and they were all like, can you please ask him about Bright Eyes?

Drew Tetz  26:16  

Yeah, was a crazy honor. I didn’t I didn’t personally talk with Conor, any of the other guys in the band. Sometimes I do, which is awesome. It is really cool. And I have never, to this point, met an artist who is a jerk to me, which is great. Yeah, I also have to say, every artist I’ve ever worked from, I’ve never been never been stiffed. They’ve always worked to get you paid which shout out to all the musicians and labels who actually fill invoices on time. Bless you. 

Michelle Khouri  26:46  

Lots of love to you because we got a pay rent. And also thrive. It’s not just about paying rent. 

Drew Tetz  26:52  


Michelle Khouri  26:52  

It’s about like, putting your heart and soul into something and thriving due to it, like all that hard work. Yeah, but you know, even if you didn’t get a chance to talk to the actual artists from bright eyes, they know your work is now tied to theirs. And that is nuts.

Drew Tetz  27:09  

Yeah, it definitely is a lifelong fan that’s like, still feel like it’s a dream, like waking up from some weird, surreal, awesome dream. But um, the whole team was awesome. Working with Secretly Canadian was the label that put it out and that I talked to. And their whole design team was really awesome and supportive. We had a good meeting, they put me in touch with the guy who did the cover art, so he got to sign off on whether it was faithful. And I did get to hear that, you know, oh, and the band approves it. In my heart, I was like, “Ah!” You know, fangirling a little bit. Even though it’s like such a such a technical business like sign off. Like yes, I know for a fact that the band liked it.  

Michelle Khouri  27:49  

Heck yeah! Congratulations, honestly. Just, how exciting to hear that all of this has evolved for you due to your hard work and dedication over the last four years. And you’ve been able to work with some of your heroes in music and that you’ve also become a hero and somebody that people fan boy and girl and fan person over. So final question is where can the Cultured Crew find more about you and witness your work either in person, in shops, or online?

Drew Tetz  28:25  

The best spot to see my work is probably on Instagram. I know that I should have a more stable portfolio presence in that but that’s just where you’re gonna see the most up to date stuff. And I do have some pretty cool records coming out towards the end of the summer. Not my records, but I got to be on a cool record, I should clarify. That is just Tetz is spelled T-e-t-z. So it looks like Tets. Don’t worry about that. You can call me Tets. I won’t be offended. Just spell it right. 

Michelle Khouri  28:52  


Drew Tetz  28:53  

Other than that, there is also my website, which is just I’m currently sold out of slipmats, but I am hoping to get another full color run soon. So if you’re interested, I guess. Stay tuned. We’ll see. There’s a lot going on. One day, I’ll be a better businessman about it.

Michelle Khouri  29:12  

Well, that’s awesome. And this has been such a joy and so inspiring. Thank you so much for your time Drew Tetz. T-e-t-z. 

Drew Tetz  29:20  

Thank you so much for having me. I’m always really grateful to talk about this weird little niche I have so I’m very grateful to you for having me and letting me nerd out about records for a second here.

Michelle Khouri  29:30  


You spin me right round baby, right round, bow bow bum bum. Yes! Do you know I did that at the beginning. Now it’s like pretty relevant, right? Okay, y’all until next time, we are going to keep charging forward into 2021. Here we go. keep it classy. Keep it curious. Keep it Cultured.